A building with a ground floor in the shape of a double-height T, with a gable roof with Arabic tiles. The facing is covered in stucco except for a stone plinth that runs around the building, and the corners are defined by pilasters of stone blocks. The construction has a symmetrically distributed structure. The main façade is crowned with a pediment with a broken profile that incorporates a coat of arms. Entrance doorway with a porch of square columns. Other decorations such as bull's heads can also be found at the top of the walls. There is a perimeter wall around it, which defines a courtyard. The interior has been preserved as it was and has the same gabled roof. Tiles are used as an ornamental element. It preserves the utensils (for hanging animals, etc.) from the same period in which it was built. The developer of this building was the Town Council of Capellades and the builder was Arturo Vidal Blanch.

Magnificent country house between partitions with two floors. It has recently been completely remodeled by "La Caixa" and only the façade has been saved. It is embroidered with sgraffitos representing Sant Jordi, the balconies have terracotta railings and the entrance halls are of the same material. This façade gives a great category to the main street of Sant Sadurní.

Tower located in the neighbourhood of Sarrià, next to Plaça de Borràs, between Via Augusta and Ronda de Dalt. It has a quadrangular plan, with a ground floor, a floor, and an attic, with an attached rectangular tower that has one more floor. On the main façade, taking up the central space of the ground floor, there is a polygonal tribune that protrudes as if it were an added body; in this tribune large rectangular windows open and are framed by stepped mouldings, above which there are large sculptural reliefs, and the body is crowned by a large molding that imitates the shapes of a capital. The rest of the openings on this floor are similar, decorated with stepped moulding. On the first floor there is a balcony with a stone base and iron railing, a large window in the centre with three sculptural reliefs above, and another rectangular window on the other side. In the main body, this level is topped off by a moulding that imitates a classical capital supported by pilasters that follow the wall; this same decoration is found in the tower but one floor higher. The attic openings are two portholes and a quadrangular window, while in the tower there is a slightly larger window. The main body is topped by a large cornice in the shape of a capital. Two small square windows open on the top floor of the tower and the upper finish is similar to that of the main body. All openings, including portholes, are framed by a stepped moulding. The sculptural reliefs on the façade and a sculpture of a Venus in the Garden are the work of Rafael Solanic. On the ground floor, in the tribune, there is a music hall with a dome decorated with paintings by Francesc d’Assís Galí, with allegories of child musicians and goddesses. This house was built to be the residence of Ramon Puig i Gairalt and his brother Antoni, also an architect. The works, started in 1925, continued until the Civil War and the death of the architect in 1937, leaving the tower unfinished, which was completed later.

House between partition walls, with a ground floor and two landings. The building is divided into two bodies: an access one that protrudes from the plane of the façade and ends in a pediment with a geometric structure, and a lower one that is crowned by a large cornice supported by panels. It must be said that the windows are of different typology. The façade, especially regarding the entrance, has been renovated in recent years by the architect J. Valls. It belongs to the Noucentista and academic stage of M.J. Raspall. It is located in the old part of the city, in the urban centre of the Middle Ages.

Isolated public building surrounded by a garden on the corner of Carrer Cesar Martinell and Carrer d’En Ferrer i Sallés. It has a T-shaped plan and it is accessed by a central front tower with a ground floor and two floors. The side wings have a ground floor, a floor and an attic. The gable roof is covered by Arabic tiles. The windows and doors show stepped lintels. Attic windows open on the roofs. It connects via an elevated walkway with the new floor building of the Casa dels Avis. What was supposed to be the old hospital located on Carrer Torres i Bages built from the donation of a piece of land by Josep Ferrer Sallés was never finished and finally in 1928 it was replaced by a new hospital. This hospital was commissioned in 1928 while the Manel Raventís square was being developed by the architect Ygnacio Brugueras. Three years later, Josep Ros i Ros collaborated there, designing the access, the stairs and the fence. Later, in 1956, the Hospital was expanded by annexing a new body, the project for which Moliner was responsible. The last intervention was in 2002 when Ramón Fuste Sitges designed an elevated walkway that connected to the Old People's Home after the conversion of the hospital into a residence for the elderly. In 1988 the Foundation was extinguished, and the City Council transferred management to the mutual insurance company La Aliança.

Located in the Sants-Montjuïc district, this group of flats is on the southern corner of the block bounded by Carrer de Lleida, Carrer de l'Olivera, Carrer de la Font Honrada and Carrer de Tamarit. It is a group of nine blocks of flats between partitions, each with a doorway. Rectangular in plan and with two floors per landing, the structure in elevation of each of these buildings comprises a ground floor, mezzanine, four floors, an attic and a rooftop terrace. However, these buildings stand out as the first documented example of Barcelona expressionist architecture. Each of the dwellings has the same compositional characteristics, giving rise to a unitary ensemble. The ground floor, entirely clad in limestone slabs, opens its shops onto the street through large doorways topped by lintels. For their part, the doorways giving access to the dwellings are framed by a kind of archivolt with a lintel that gives them depth. The mezzanine floor is also clad in stone and crowned with a striking cornice. The rest of the floors are clad with reddish mortar, which originally had green sgraffito decoration based on borders and geometric shapes (as can be seen in the examples preserved along Carrer de l’Olivera). The main characteristic of these buildings is the use of rectangular windows (with the exception of some balconies in Carrer de l'Olivera) and, above all, the use of locating the neighbours' staircase in triangular glazed tribunes which are visible from the street. The attic is finished with red brickwork, marking a horizontal composition that counteracts the verticality of the tribunes. This group of flats owned by Josep Masana was designed by the architect Ramon Reventós i Farrarons in 1928, coinciding with the process of redevelopment that the area of Poble Sec underwent as a result of the 1929 International Exhibition. The importance of this work lies in its use, for the first time in Catalonia, of an expressionist formal language inspired by Central European experiences in the field of mass housing. It was built in several phases between 1929 and 1930. This work is connected with the European expressionist rationalism of socialist ideology, especially with the "Hofs" of mass housing in Austria and southern Germany. Ramón Reventós, despite being a little-known architect, played an important role in the construction of the 1929 International Exposition with works such as the Venetian Towers of Avinguda Maria Cristina, the Teatre Grec, the Montjuïc Funicular, the Poble Espanyol and the Miramar Hotel. He is also the author of the Florida Hotelat the top of Tibidabo. His work is mainly Noucentista.

The Joaquima Vendrell house is located on the corner of Carrer Vallhonrat and Passatge Prunera. It is a block of flats between partitions consisting of a ground floor, a mezzanine, six floors and a rooftop. There are five flats per floor, of about 76 m2, with an uneven distribution. The façade is articulated from the corner, rounded and symmetrical. On the ground floor, the openings follow a regular rhythm and have the jambs marked by a plain moulding that ends in a rectangular piece in the form of corbels that support the lintel. The main door, located in Vallhonrat street, has a broken frame. This level has a stone slab facing, unlike the upper levels, which are plastered and painted. From the first floor onwards, the façade folds into a triangular shape following two longitudinal axes on Carrer Vallhonrat, and another two on the Passatge Prunera. On these two façades, all the openings, which follow a regular rhythm, are lintelled, and on the first and fourth floors there is a continuous balcony that follows the triangular shapes. This fourth floor is crowned by a cornice and from this level onwards, the plane of the façade recedes diagonally, which means that from the top floor only the triangular bodies are visible from the street and, as they do not recede like the rest of the wall, they remain in the form of a tower. The rounded corner has a tribune protruding from the mezzanine and acts as a balcony on the first floor. On the first, second and third floors there is a projecting cubic volume, the upper one less than the other two, and here there are windows. On the second and fourth floors there are balconies running around the corner, while on the third floor there are two balconies and the corner is left free. The fifth floor has no balcony, but is crowned by a cornice. The top floor is left as if it were a tower, as are the triangular bodies of the other two façades. The facing is painted white except for the triangular bodies, balconies, the tribune and cornices, which are painted red. This play of volumes, emphasised by the use of colour, shows the influence of expressionism and cubism in the construction of the building.

Es tracta d'un edifici de tres plantes que, seguint els cànons tradicionals dels convents, organitza les dependències entorn a un claustre: l'església que dona al carrer amb accés públic, el refetor, els dormitoris, la capella interior i els serveis. Pericas fa servir en aquest convent una sèrie de recursos historicistes habituals en ell però que són intel·ligentment interpretats i redibuixats: el romànic en la portalada de l'església, amb arquivoltes i sense esculpir, sinó amb els extradossos perfilats per sanefes d'esgrafiats; o l'arqueria del claustre, d'arcs peraltats i capitells no figuratius, que evoca l'arquitectura nassarita; o el portal de la capella superior, amb esgrafiats que omplen els carcanyols de l'arc i que ens remet a l'art mudèjar. Tot, fins a l'últim detall, i amb especial cura la fusteria i el mobiliari, els terres i els vitralls, són d'un disseny exquisit, sense deixar de banda la multiplicitat de formats d'obertures que se succeeixen en els murs, sense perdre el sentit de la simetria. El projecte és de l'any 1928, però la construcció de l'edifici conventual de les germanes Josefines es va allargar en el temps a causa de la seva complexitat, riquesa material i ornamental, i sobretot, l'estancament que va suposar el període bèl·lic de 1936-1939.