It is a building between partitions with a ground floor, three storeys and an attic. On the ground floor there are two segmental arches, forming a porch. These two arches mark the two vertical axes along which the openings are distributed. The openings are balconies that vary in size according to the height, marking a hierarchical order. The balconies are cantilevered and the wrought iron railings stand out. The façade is crowned by a gallery of classical windows, between which classical columns are arranged. The cornice has a railing decorated with Gothic motifs.

A large house that covers almost a block of the centre of Vic: Plaça Mercadal, Carrer de Verdaguer and Rambla. The central doorway on the ground floor is paved and above it there are large balconies, whilst on the first floor there are tribunes. In this same body there are two staggered headers, which have a decorative function. In the interior and on the first floor there are large gardens. The whole house is full of ornamental elements that sometimes show Gothic connotations, as can be seen in the drip edge flashings and lattices. It is a Catalan Art Noveau construction, built in 1896, with medieval influences as can be seen in the different towers. This house is part of the enlargement that took place from 1900 onwards. That same year, Carrer de Verdaguer was opened to connect it with the Crall school and several rooms of the Casa de la Villa. The ground floor is destined for shops.

Civil building. Rectangular building with higher bodies in the centre and at the ends of the sides. It has a semi-basement floor plan and four storeys in brickwork with beautiful sgraffito and stucco work on the exterior walls. There is a bas-relief on the first floor level depicting Saint George slaying the dragon on the old façade. On the ground floor there are two walled doors. The main entrance is on the side of the building. It is built with brick and, plastered on top marking the masonry, there are elements of red brick highlights. The balconies of the higher bodies are noteworthy, as the balcony railings are decorated with animal sculptures (wild boars) and surrounded by vegetation. The windows of the factory are rectangular and the openings of the doorways have segmental arches. The factory is located on Carrer Morgades, which was the old gasometer and ring road. The building was originally used as a sausage factory, as can be seen from the ornamental elements on the façade. From the 1930s until 2007 it was used for the production of flour. Today, it is the Costa animal feed factory, which only uses part of the factory's premises. Thanks to a thorough refurbishment, the building has been adapted to house the Vic Visual Arts Centre.

Building between partitions forming a corner. It consists of a ground floor, three upper floors and an attic, with a single-slope roof with Arabic tiles and the corners decorated with green ceramics. The openings are distributed asymmetrically, maintaining a gradation of proportions in height. The balcony tribune, the wrought iron railings and the green ceramic decoration stand out.

Building between partitions with a ground floor, three upper floors and an attic, covered by a gable roof. The openings of the main façade are symmetrically distributed along the façade, which are arranged hierarchically in height. It is crowned by a cornice with a stone collar. On the ground floor there is a porch with three pointed arches, supported by columns with capitals decorated with floral elements. The mouldings that frame the openings of the balconies on the first floor, with lowered arches, are noteworthy. They are profusely decorated with fleurons and sculptures crowning them, representing the four social classes: the church, the aristocracy, the peasantry and the working class – the work of the sculptor Pere Puntí i Terra. The openings on the first floor have a timid ogee arch, protected by a delicate drip edge flashing, while the first floor opens with a mixtilinear arch, which is the simplest one. The building is crowned by a gallery with ten semicircular arched openings.

Building between partitions consisting of a ground floor, two upper floors and an attic, with an irregular profile at façade level. On the ground floor there are two semicircular voussoir doorways, one next to the other. Other windows are located on the same floor. On the two upper floors, the openings are distributed symmetrically, following vertical axes. Most of them are cantilevered balconies, with wrought-iron railings, flat decorated lintels and stone ashlar jambs. These balconies maintain a gradation of proportions in height. The two twin windows stand out, those on the first floor with semicircular arches and those on the second floor with lobed arches. On the third floor there is a gallery that runs along the entire façade, with semicircular arched openings.

Civil building. Two-storey house with a rectangular floor plan that chamfers Rambla Devallades and Carrer Verdaguer. The ground floor is covered with crushed stone and is used for the Banco Popular Español (Spanish Popular Bank). The first floor has horseshoe-arched windows framed by stone voussoirs. The first floor is higher and has balconies, whose portals have pointed and lintelled arches, with the lintel decorated with geometric shapes depicted in mosaics. The barbican of the building is also decorated with mosaics. The part that corresponds to Rambla Devallades follows the same structure, but there is a tombstone in memory of Bac de Roda. It is in a good state of conservation despite the avalanche of signs on the façade. It was built in 1908 by the master builder Josep Torner. Despite the fact that the lower part of the building has been extensively refurbished due to the establishment of the bank, it has clearly Catalan Art Nouveau lines with a clear Islamic influence. Carrer Verdaguer has several houses of this style, as it was opened at the end of the 19th century when the railway station was established in the lower part of the street. Rambla Devallades corresponded to the outside of the wall, and it was here where Bac de Roda was executed.

Building between partitions with a ground floor and four storeys, with a wide, symmetrical, flat façade crowned by the barbican of the gable roof. This façade has a voussoir-arched entrance doorway protected by a polygonal moulding, while on the first floor there are two vertical semi-hexagonal tribunes flanking the central area, which is crowned by a pentagonal pan. The floors are marked by stone impost lines, as are the doorways and windows. Thus, the imposts connect the tribunes with the double windows of the central body and with the group of three arcades on the upper floor. The façades are stuccoed, with geometric sgraffitoes surrounding and decorating the frame and the sides of the openings. Below the barbican there is a ceramic tile frieze and terracotta figures. The building was constructed in the incipient expansion of Vic from the opening of the street that linked the Plaça del Mercadal with the train station. It was the first rented housing building in the city, and was commissioned in 1917 by the dyeing businessman Antoni Puig Danís to the architect Josep Maria Pericas i Morros. Around this time, Pericas began to acquire his own language based on European trends, moving towards a new rationalist style.

A house of flats with a partition. It consists of a basement, ground floor and two floors, and has a three-slope roof. It has two façades, one to the north and the other to the west, which has galleries finished with a cornice typical of the author, Raspall i Mallol. This sector is surrounded by a large garden. On the north and on the first floor there is a glazed tribune. A lantern stands out in the centre of the building. It is built with tiles and the façade is decorated with stone, plastered and stuccoed, and has beautiful wrought-iron elements. The roof is made of glazed Arabic tiles. The house is in a lamentable state of abandonment, although some parts are still inhabited. With the urban expansion of Vic at the beginning of the 20th century, the new Torras i Babes street was laid out to replace Santa Teresa street at the exit of Vic towards the Sant Hilari road, which later promoted urban development towards the eastern sector of the city until it linked up with the buildings on Caputxins street and towards the Roda road. The Collell house was designed by the architect M. Raspall and was finished in 1921. After the Spanish Civil War, Manel Gausa had to rebuild it to repair the damage caused by the war, preserving Raspall's typical Catalan Art Nouveau style.

Civil building. Square-shaped country house with a hipped roof and a lantern in the centre of the building, which opens onto courtyards and is also covered by a hipped roof. The façade faces south and has a semicircular arch doorway formed by small voussoirs. On each side of the building there is a small annex covered by a single-pitched roof. On the right-hand side, next to this, there is a doorway that closes off the courtyard, which is located on the eastern side. On the north side, there is an exit on the first floor that extends towards the side walls, forming balustrades. The north side is made of red brick, with various decorative shapes playing with this material. This part of the house is surrounded by gardens, with a fountain dedicated to Sant Jordi and a chapel dedicated to the Virgin of Carmen. The state of conservation is average, and the façade should be taken care of. The chapel has a single nave oriented from east to west. In the gable end is the apse preceded by a dome, with the lantern protruding from the body of the building. The façade has a stepped gable end and the doorway is preceded by a thick arcade that protects the semicircular arch doorway; this section is covered by a single slope. On the left side there is a cylindrical bell tower, the upper part of which is decorated with serrated patterns and has openings. The walls of the nave and apse have Romanesque-style windows. The lower part of the walls of the temple are made of bluish chipped stone, while the rest of the walls are plastered and painted yellow. The building is in good condition. This old farmhouse belongs to the municipality of Vic and is located outside the city. It is near the Sierra de Sant Ferm, a village that grew up around a farmhouse of the same name, just a few metres from the railway level crossing. It is one of the few country houses in the Vic area that preserves tradition and continues to be used for agricultural work. Judging by its style, it was probably renovated in the late 19th or early 20th century, acquiring the stately appearance that it still retains today. There is one section for the owners and another for the peasants. The church within the grounds of the Torre d'en Franch country house is located in its garden. It is linked to the history of the house, although the chapel is much older. It is dedicated to the Virgin of Carmen and, according to the date carved on a stone at the western end of the ridge, it was built in 1928.

Edifici entre mitgeres que consta d'una planta baixa i quatre pisos. La seva composició, basada en la geometria i en els jocs d'elements de la façana, presenta un equilibri dels buits i els massissos, distribuïts simètricament respecte a un eix central de la façana. Les obertures s'agrupen en tres eixos verticals definits per dues línies de dobles obertures unides per una balconada als pisos centrals i situades als extrems de la façana principal, i un eix central amb una línia de finestres rectangulars d'esquema vertical. Al quart pis hi ha una galeria de finestres d'arc de mig punt agrupades en tres grups de tres finestres cadascun. La cobertura es resol mitjançant una teulada a dos aiguavessos, que sobresurt a la façana principal tot formant una barbacana amb colls vistos. La planta baixa presenta tres portals -els dos laterals han estat reformats i convertits en dependències comercials. El portal central, l'element més decorat de l'immoble, està flanquejat per les dues grans obertures que formen els locals contigus. Està emmarcat amb pedra motllurada i una reixa de ferro forjat, clos per la part superior amb un arc rebaixat sobre el qual es troba el timpà, contornejat per motllures de traçat mixtilini. Continuant amb l'aspecte decoratiu del conjunt, cal esmentar la pedra tallada en carreus del revestiment de la planta baixa, de les llosanes dels balcons i llindes i dels brancals del primer pis; la resta de paraments són d'estuc que imita carreus incisos. Les obertures presenten esgrafiats de motius geomètrics en ziga-zaga o en rocalles. Aquests motius en rocalles també són presents al timpà del portal d'accés i als ampits de les finestres centrals. Lluís Pericas, germà de l'arquitecte Josep Maria Pericas i Morros, va ser el promotor de l'obra. Li va encarregar al seu germà la reforma de dos dels seus immobles d'estil barroc, suggerint-li una solució de façana única i una nova compartimentació per adaptar l'edifici a la seva nova funció com a bloc d'habitatges (el 1926 va demanar a l'Ajuntament de Vic la llicència per unificar ambdós edificis). Una d'aquestes dues cases, la número 10 (abans número 8) havia estat la casa pairal dels Pericas. La família havia acabat comprant la casa del costat, l'actual número 12.

Es tracta d'un edifici entre mitgeres, amb l'església a un dels seus costats. El projecte inicial de Pericas preveia aixecar l'església del convent, en un costat d'aquest, però, finalment, no s'arribà a executar en aquella època, sinó molt temps després, i amb projecte d'un altre arquitecte. Sí que es bastí el campanar, a la banda dreta del convent, de planta quadrangular, que s'enlaira per sobre de la línia de cornisa d'aquest amb un pis de campanes de planta més reduïda que el cos baix i coberta a dos vessants força inclinades. El convent es desenvolupa al llarg del carrer, amb un cos avançat per adaptar-se'n al traçat, que s'estreny en aquest punt. Forma una nau rectangular coberta amb teulada a dues vessants amb ràfec sobre mènsules, a la banda interior de la qual hi ha el pati conventual. Pericas dissenyà els exteriors i els interiors de l'edifici amb el llenguatge propi que el caracteritzà. Amb una seqüència ritmada dels buits i els massissos, combina les obertures en arc rodó amb la finestra d'encuny personal, de forma apaïsada i delicat motlluratge, de vegades geminada, vorejant brancals d'esgrafiats de motius geomètrics. Aquest sentit decoratiu penetra a l'interior, i al vestíbul i l'escala del convent tornem a veure esgrafiats emplafonats en parets i cassetonats als intradossos dels arcs. És interessant el portal principal d'accés, de pedra, inspirat en els models barrocs, flanquejat per dues columnes avançades que suporten un entaulament de frontó mixtilini, amb pinacles als extrems i un escut sobre la clau central. Els paraments del campanar estan aplacats amb pedra de Montjuïc, tallada en carreus i aparellada amb junta refosa ampla, que contrasta amb els murs pintats del cos conventual. La construcció d'aquest edifici la van iniciar els arquitectes Josep M. Pericas i Francesc Pericas l'any 1929. Amb aquesta construcció s'iniciava la remodelació dels carrers, que tenia els seus antecedents en una proposta de modificació d'alineacions existent a l'arxiu municipal datada l'any 1868 que no es va realitzar. La proposta concreta de l'any 1929 feia un entrant al carrer traçant una alineació perpendicular a la portalada d'accés a l'antiga església de la Mercè, emplaçant el nou campanar a la cantonada. Més tard, durant la guerra civil del 1936 va ser enderrocada l'església i el convent antic i, acabada la guerra, es va acabar de remodelar la zona traçant noves alineacions a l'actual carrer de Sant Antoni M. Claret, prolongant l'edifici que ens ocupa, construint la casa d'exercicis i, finalment, l'actual església de Sant Antoni M. Claret.

It is a three-storey building which, following the traditional layout of convents, organises its rooms around a cloister: the church facing the street with public access, the refectory, the dormitories, the interior chapel and the services. Pericas uses a series of historicist resources in this convent that are common to him but which are intelligently interpreted and redrawn: the Romanesque style in the church doorway, with archivolts and no carving, but with the transoms outlined by sgraffito borders; the arcade of the cloister, with stilted arches and non-figurative capitals, evoking Nasrid architecture; and the portal of the upper chapel, with sgraffito filling the spandrels of the arch, reminiscent of Mudéjar art. Everything, down to the last detail, and with special care taken over the carpentry and furniture, floors and stained glass windows, is exquisitely designed, without neglecting the multiplicity of openings in the walls, and without losing the sense of symmetry. The project dates back to 1928, but the construction of the convent building for the Josefinas sisters was delayed due to its complexity, material and ornamental richness, and above all, the stagnation caused by the war period from 1936 to 1939.

Next to the arch, there is a lowered-arch doorway. Above the arches are the coats of arms of the city. On the first floor, rectangular windows open, also bearing shields, along with a large Gothic window with tracery and columns that displays the city’s coat of arms supported by lions. On the second floor, there are several modern openings. The cornice features stone mouldings. The lower part of the building and the corners are made of large blocks of dressed stone, while the rest of the façade is plastered. Of note is a room on the first floor whose space is defined by a central column. The ground-floor arches contain leaded stained-glass windows and wrought-iron grilles. A sundial is inscribed on the main façade. Window: Located on the first floor of the east façade, it corresponds to the Sala de la Columna (Column Hall). The rectangular coronella window has a small sill decorated with motifs serving as drip mouldings. Vertically, it is divided into three sections separated by two marble columns resting on small bases with volutes and topped with capitals decorated with vegetal motifs. Above them are slightly ogee-shaped arches, whose intrados are adorned with vegetal decorations. The upper part features tracery with five-lobed floral motifs inscribed within circles. The jambs include Renaissance elements forming interlaced patterns above the sill and moldings that frame the entire window. Above the window, on a square ashlar block, appears the city’s coat of arms supported by two lions. The building of the former Llotja (Exchange Hall) stands in the centre of the medieval city. It was originally built as the City Council House. Initially, it consisted of a ground-floor structure with open arcades and a central column, the work of Master Joan Colet. Pladevall dates the construction of the Llotja and its upper hall to 1358, while Junyent places the beginning of the work around 1495. Both authors agree that by the late 15th century, the upper floor was added, featuring the Sala de la Columna with a polychrome coffered ceiling and a beautiful Gothic window by Jaume Cavallers, along with a further story containing a gallery. The building was expanded in the 16th century with the purchase of neighbouring houses to create facilities for grain storage, the city’s exchange table, and archives. From 1670 onwards, the Casa de la Ciudad was remodeled under the direction of the designer and Carmelite friar Fra Josep de la Concepció. By the late 19th century, there was likely some intervention by a local master builder. Between 1922 and 1931, architect Joan M.ª Pericas carried out renovations and enclosed the porticoes. The window was the work of the Provençal stonemason Jaume Cavallers, as recorded in the 1509 construction contract. Although a 16th-century work, it shows many features typical of the Gothic style, along with modest elements of the Renaissance.

The building is located on the edge of the old town, on the edge of the suburbs, outside the walls. Its presence in the built context causes a certain urban impact due to its volumetric complexity and formal singularity. The building follows the slope of the street, is on a corner and has three exposed façades and a fourth partition, with a series of volumes at different heights which are staggered. They are four and five storeys high and they move backwards or forwards, introducing a dynamic and irregular rhythm, more typical of Catalan Art Nouveau architecture. However, the simplification of the compositional elements, such as the format of the doors, windows, roofs, tribunes and loft towers, give it a more Noucentist style. The lateral bodies have a single-pitch roof and the central one has a gable roof. These are made of Arabic tiles and end in a powerful barbican on beams. The unevenness of the street means that there is a semi-basement and the access to the house is located at the height of the first floor. The solution for this access is interesting, with a staircase and a well-worked iron grille. Above the main door is a ceramic mosaic depicting the martyrs Lucian and Marcian. The walls are smooth, stuccoed and painted. With the urban expansion of Vic at the beginning of the 20th century, the new Carrer Torras i Babes was laid out to replace Carrer de Santa Teresa, at the exit of Vic towards the Sant Hilari road, which later promoted urban development towards the eastern sector of the city until it connected with the buildings on Carrer dels Caputxins and towards the Roda road. This house forms part of a group of Catalan Art Nouveau houses on this street.