The University of Barcelona is one of the first buildings to be arranged in the plot designed by Cerdà. Its genesis, however, is older, because Rogent designed several projects for the University in different locations inside the old town that had to return from Cervera to Barcelona after Philip V took it from the city in retaliation for the events of 1714. The final configuration leaves a 130-metre façade on the Gran Via, asymmetrical with respect to Universitat Square, in the middle of two blocks of the Eixample (with a 220-metre front) that it does not fill. The building follows the tradition of the great European universities: two courtyards, one for Science and the one for Humanities, which are completely symmetrical and are separated by a central body with a very powerful marble staircase leading to a beautiful auditorium located above the lobby. The urbanisation of the area, which makes the building adapt to the Cerdà plot, was carried out in the 1930s by architects linked to the GATCPAC. On the short sides, facing Aribau and Balmes streets, there are a series of buildings that prevent the full view of the side façades. The building is built in neo-Romanesque style, with a sober, powerful, severe stone façade, built with beautifully preserved ashlars. The interior spaces are of great beauty and the cloisters still retain their original life and still house several schools linked to the current University of Barcelona. Visiting the building means seeing it through the eyes of today's students who, thanks to its flexibility, can continue to use it with the same freshness of the first day. The sequence of spaces formed by the access lobby, made of worked and exposed stone, and some interesting enough vaults that support the Auditorium and the staircase to access it, is particularly recommended. A visit to either of the two cloisters is also recommended.

This is Gaudí's first commission, having just finished his studies. The house consists of two floors with a low ceiling which house the main floor and the bedrooms, and a much higher attic under a multi-slope roof. The treatment of the built factory combines exposed stone and brick masonry, which is drawn and organised according to horizontal rows, and vertical elements of ceramic tile, which always draw a draftboard pattern and incorporate the corner tribunes and their elements of support. The house was conceived as a large optical device linked to the garden and the skewed views from the street.

These are the only remaining constructions from the works done by Gaudí on the baron de Güell's estate, which reached as far as the Pedralbes palace. The entrance is flanked by two royal wall constructions, and the large space of the stables is covered with a series of barrel vaults through which the light enters, supported on parabolic brick arches. On the outside, the abstract ornamentation is combined with iron elements that capture the symbolism of the poem by Jacint Verdaguer: the dragon cannot prevent Hercules from tearing a branch from the tree of golden apples, which crowns the large brick pilaster on which the door pivots.

Situated on the boundary of the Ciutat Vella district, the Arc de Triomf is a free-standing structure that presides over the Passeig de Lluís Companys at its junction with Carrer de Trafalgar and Avinguda de Vilanova. It is a construction of simple design, consisting solely of a large monumental arch flanked on either side by two pairs of giant semi-columns. The walls defining the intrados of the arch contain, on both sides, access points to the interior of its piers. As these piers are not solid, the interior space is articulated by a series of partitions and arches that support the structure. In addition, within these spaces rise the two spiral staircases that provide access to the roof terrace above, concealed inside the semi-columns flanking the arch. Access to the terrace is gained through two crown-shaped openings which serve as models for the other six ornamental cupolas that complete the structure. The principal feature of the triumphal arch is its material configuration, based on the use of exposed brick ornamented with glazed ceramics and with certain stone detailing. Indeed, although the foundations and plinth were constructed using large blocks of Montjuïc stone, the visible structure of the building is fundamentally ceramic, making its construction easier and more economical. Furthermore, the formal composition of the building constitutes a catalogue of the ornamental resources of late Eclecticism moving towards early Catalan Art Nouveau, although some authors have sought to identify similarities with Neo-Mudéjar architecture, which was practically non-existent in Catalonia. As for the ornamentation, this is based on the interplay of volumes created by projections and recesses according to the arrangement of the bricks. The monument’s plinth stands out for the wedge-shaped bases of the semi-columns, as well as for the arrangement of horizontal bands of yellow and red brick. This plinth is crowned by a continuous frieze of yellow and green glazed ceramics decorated with vegetal motifs. Within this plinth, in the intrados of the arch, are the two entrances to the interior of the building, formed by triple doorways closed with wrought-iron grilles bearing the four bars and the Cross of Saint George. The imposts of the arch are ornamented with floral stone capitals and reliefs in the form of bats (an emblem attributed to James I the Conqueror). Although the vault of the arch is made of brick, the façades display, through sculpted stone voussoirs, a large laurel wreath supporting the coats of arms of the 49 provinces that formed the Kingdom of Spain in 1888. The keystone of both arches features the city’s coat of arms. The spandrels of the arch display decorations in earth-coloured glazed ceramics and reliefs fashioned in brick. The crowning of the building is its most interesting part. Above a frieze of corbels running around the four façades rest four sculptural stone friezes. The frieze on the mountain side, entitled “Barcelona Receives the Nations”, was sculpted by Josep Reynés i Gurguí and depicts Barcelona as a crowned and enthroned lady extending her arms to either side, surrounded by other female figures representing Spain, the French Republic, the Austro-Hungarian Empire and the British Empire, among others. The frieze on the sea side, entitled “Reward”, was an early work by Josep Llimona i Bruguera and, in a more restrained language, shows Barcelona awarding prizes to participants in the Exhibition, among whom Spain, with her lion, and France, with the Phrygian cap, stand out. The frieze on the Besòs side, created by Torquat Tasso i Nadal, is entitled “Apotheosis of the Arts and Sciences” and depicts the god Apollo surrounded by male and female allegories of architecture, sculpture, literature, painting, music and geography, among others. The frieze on the Llobregat side, created by Antoni Vilanova i March, is entitled “Apotheosis of Agriculture, Industry and Commerce” and depicts a Victory receiving homage from various figures bringing fruits and gears as attributes of agriculture and industry, under the gaze of Hermes, representing commerce. Each of these friezes is flanked by the capitals of the semi-columns surrounding the monument. These abstract brick capitals are adorned with stone sculptures executed by Manuel Fuxà Leal and Pere Carbonell i Huguet. They represent twelve winged Victories or Fames who, resting their feet upon spheres, raise their arms bearing wreaths of flowers and laurel and cast-iron trumpets. The building is finished with a cornice composed of brick corbels and panels of yellow glazed ceramics in the shape of stars. At the centre of the two principal façades (mountain and sea), this frieze is interrupted by the presence of the full coat of arms of Alfons XIII flanked by two lions. Crowning the building, eight brick cupolas clad in yellow and green ceramics (two of which function as openings) adorn the roof terrace, all surmounted by immense comital crowns made of earth-coloured glazed ceramics.

It is the Baron de Güell’s main urban residence, built on the site left by two old apartment buildings, at a peak for the city’s culture due to the imminence of the first Universal Exposition. The whole organism revolves around a large central space located on the main floor, with a height above the roof, where all the cultural and social life takes place. Gaudí creates an unusual vertical order, where the four floors above the street are expressed on the façade in six different orders, also broken horizontally. At the entrance, two inverted catenaries channel the differentiated access to the garages, the stables and the large hall. The palace is conceived as a unitary space experienced through the staircase, which ascends around the great hall until it reaches the bedrooms. Gaudí’s respect for the medieval urban palace typology is obvious, although it is full of a very sacred sense of space.

House with an almost square floor plan, located on the corner of Monturiol and Malvehy Streets, towards which its main façades face. It consists of a ground floor and a first floor, in which horizontal strips of exposed brick alternate with others of stone conglomerate. The openings and other architectural elements are also solved with exposed brick. The most outstanding element is the door, located in the chamfer, and above which rises a little balcony on the upper floor. On the ground floor and first floor there are single and twined windows in the shape of an elongated hexagon. As a colophon and unifying element of the façade and the tower, there is a reticulated border of bricks, on which the whole is topped off by the railing of the upper roof. The building, designed by the architect Joan Rubió i Bellver, has a marked influence of the early Gaudinism in terms of the use of historicist elements of Gothic inspiration. The house was built at the same time as the rest of Colònia Güell. The date "1900" is written on the forgings of the entrance.

It is the result of the refurbishment of three old, attached houses, in which the entrance has been moved to the interior garden and some façades have been doubled in order to create galleries in the remaining spaces. The project breaks the typological features of the old houses and creates a unitary dwelling: a stepped volume from the south façade to the partition wall on the west side, with a doubled brick wall crowned with battlements. Numerous wooden elements are used on the façades, such as the corner struts. The interior recreates a fresh atmosphere, with wisteria and Arabic ornaments, an ideal refuge for the architect after his exile.

Small palace with three floors with a functional overlap characteristic of palaces: semi-buried ground floor taking advantage of the natural unevenness of the hill, floor plan with halls, rooms, small rooms, dining room and library. Second floor where there are the bedrooms and a second floor where there is the attic with access to the roof. The facade is structured from volumes of geometric bodies divided into three distinct parts making a triangular portal with smooth pointed in the central crugia. On the outside there is a combination of white and blue trencadís majolica combined with white plastering, exposed billet and stucco. Decoration of lights and wrought iron grills.

It is a building intended for parish housing services. It presents some ornamental and constructive elements typical of the last stage of modernism where simple geometric shapes such as pointed arches formed with blown bricks are mixed with other curved geometric elements. A tower-shaped element stands out in one of the corners in one of the vertices in which the entrance door is located, covered by moulded buttresses and a gallery formed by a roof supported by stretchers. The floor plan of the building is rectangular with a hipped roof.

The residential building at Carrer Or 44 is located in the Gràcia district, in a block bounded by Carrer Torrijos, Carrer Torrent d'en Vidalet, Carrer Sant Lluís and Carrer Or, with the main entrance facing Plaça Virreina. It is a residential building that Joan Baptista Rubinat i Planas commissioned Francesc Berenguer Mestres to build at the beginning of the 20th century, although, as he did not yet have the title of architect, the project was signed by Joan Rubió i Bellver. Rectangular in plan with a back courtyard, it has a stairwell in the centre and, aligned with it, two small light courtyards. The structure in elevation has a ground floor and five storeys, with a flat, walkable roof enclosed by a wrought iron railing. The façade has a flat, symmetrical composition, with its openings arranged on four vertical and five horizontal axes in a regular rhythm. On the ground floor there are four identical doorways, all of which are formed by gently moulded stone pillars with four angular brick arches. The doorway leading to the entrance hall of the building, located in the westernmost part, has the door set back from the façade. On the rest of the floors there are four balconies with sinuous slabs, the lower part of which shows the iron joists that support the vaults, decorated in trencadís. These balconies have a meticulous wrought-iron closure, with wavy, interlocking bars. They also mark the four vertical axes, and are crowned on the roof by sharp brick pinnacles and a wrought-iron support to hold the pulley. From the first floor upwards, except for the brick framing around the openings and the crown of the building, the façade is covered with mortar and decorated with two-colour sgraffito work with floral and geometric motifs.