Edifici aïllat, envoltat de jardí i situat al centre de la ciutat, en la zona de l'eixample vuitcentista. Té un caràcter monumental, de proporcions considerables i estil classicitzant. El sistema estructural de l'edifici és a base de murs de càrrega i forjat. El sostre és de revoltó ceràmic i biguetes d'acer laminat. Els murs de càrrega són obrats amb blocs de pedra de 50 cm. de gruix. La façana principal presenta un cos central un xic més elevat que la resta i una torre a cada extrem de façana. La decoració és d'estil neoclàssic. Al cos principal hi ha un portalada de mig punt, flanquejada per unes columnes adossades amb capitell jònic; remata el cos un frontó triangular. El campanar és d'espadanya. La resta de façana és també de línia molt clàssica i regular. El seu fundador fou el manresà Francesc Cots i Argullol, que no pogué veure acabada l'obra, ja que va morir poc desprès de començar-se el projecte d'aquesta. El projecte s'encarregà a l'arquitecte barceloní Antoni Rovira i Trias. Es va posar la primera pedra el 3 de maig de 1857 i la part principal de l'edifici s'acabà a l'agost del 1859. El 14 de març de 1879 es van començar les obres de l'església, que fou beneïda el 12 d'octubre de 1881. S'han fet diverses reformes a la construcció, essent la més important la de l'arquitecte Alexandre Soler i March, que reformà la façana principal i construí uns cossos laterals. Actualment es troba en fase de restauració.

Three metre-wide canal which about sixty metres long. It is in the open air, through which a sheet of clear water passes. The box is flat and is built with solid brick. When it passes under the mine house it is channeled, with a semicircular vault of two rows of solid brick. The arrow is 2.2 m. The access is barred by a wrought iron bar grid, which incorporates a locked door. At the mouth of the outlet there is a tombstone, in very poor condition, which cites the purpose for which these waters were intended, as well as the date of construction. There is a second illegible inscription quoting the date 1822. On each side of the headstone there is a rail of iron pipes, which had formerly been balusters. Above the headstone there is a circular pediment. Just above the canal, and about 10 metres from the mouth, we find La Mina House. This small building has the following dimensions: 11 m of main façade and 8.5 m of depth. It consists of a ground-floor body, with a gable roof of Arabic tiles, where the access door is, and another two-storey building, which was been extended with a third floor during the last renovation (1993). The façade of the first body is symmetrical, with a thin arched portal and two windows, one on each side, with the corresponding wrought iron grille. Above the door there is a shield which says "JUNTA DIRECTIVA DE AGUAS DE LA ACEQUIA CONDAL Y SUS MINAS. BARCELONA". The top consists of a powerful cornice following the slope of the exposed brick roof. The other body has a plinth, one window per floor, offset from the axis of symmetry, framed with exposed brick and a segmental arch. The corners are also made of exposed brick imitating ashlar. The third floor has a light wood and glass enclosure and a large sheet metal overhang. The activity centre has been built behind this building, with a usable terrace. From this building you can see and access the mine through the underground floor, which is illuminated. During the Roman period, the city of Barcelona was supplied with water by means of three aqueducts, one of which took the waters of the Besòs through a dam and followed the layout of the later Rec Comtal, except for its final part, which in height entered the city through the Roman tower of the Archdeacon's house. Used during the High and Low Empire, it fell into decline in the 8th and 9th centuries, when it was replaced by other forms of collection and supply. Throughout the early years of the Middle Ages, the old water conduit systems remained abandoned and were often considered as just another element of the landscape. On the other hand, the county initiative on the process of irrigating land that was carried out by the farming communities throughout the 9th and 10th centuries was almost non-existent. Although the rec comtal does not appear in the documentation until the end of the 11th century (1075), this canal was already known and used before the year 1000. The aim of the works of Count Mir (954-966) in restoring the ancient Roman water supply channels in the city was, above all, the development of milling and other artisanal activities that developed in the plan of Barcelona. Initially, the river took the waters of the Besòs through a lock made of stones and logs. In 1457 it was decided to build a more solid one made of mortar. The economic and even political importance of irrigation has been evident since the beginning of the Middle Ages, and the control of the Counts of Barcelona over its waters and their uses was consolidated throughout the period feudal. During the Middle Ages, El Rec was part of the royal heritage and was administered by the mayor. From the 14th century onwards, the figure of water marshal and administrator of the royal mills of the city and territory of Barcelona appears. These positions, however, were abolished by the Nova Planta Decrees of 1714 and their functions came to depend on the intendant. The continuous droughts that reduced the supply flows in the city of Barcelona caused, since the Middle Ages, different attempts to use the irrigation system for the supply of drinking water in the city. Finally, in 1704, part of its flow was diverted to Barcelona, in order to feed the public fountains. In 1778, during the reign of Charles III, it was decided to take advantage of the subalpine waters of the Besòs by opening galleries under the riverbed and setting up the Mina de Montcada, which with a length of 1430 metres, 2 in width and 2 in height ended in the Reixagó or La Mina House. However, the construction of this new complex was promoted by private initiative, under the direction of the Royal Intendant (Juan Felipe de Castaños). To control the works, a board was created made up of representatives of Real Patrimoni, Barcelona City Council and the owners of mills and irrigated land that used their water. The project was in charge of the engineer Josep Subirats and architects Joan Soler and Josep Mas i Vila. The new construction was crowned by a tombstone with the following legend "with the object of permanent supply, with notable utility of the public at the expense of the Royal Erafio of the City of Barcelona, and of those interested, mills and land irrigation in the reign of His Majesty Carlos III, designed and built by the illustrious intendant Baron de la Linde". The mine was subject to several extensions: 1822 (Liberal Triennium) where the Royal Heritage did not participate in the expenses, 1836, 1839, etc. In 1839, according to a document from the Cultural Foundation, a tombstone (today illegible) was placed with the following legend: "At the expense of the excellent City Council of the City of Barcelona, of the irrigating owners who have the right to the use of the waters of this mine, and of the owners and participants of the mill, except the Real Patrimonio, 144 rods were built in 1822, and in 1838 and 1839, 333 rods in total". The mine, a construction made of masonry on the walls and brick on the vault, had two main branches, one started in the Ripoll river, and the other, the most important one, in the Besòs, in front of the Bonet Tower, and crossed Montcada through the underground to Reixagó. Along its route, a series of log wells connected the tunnel to the surface. At this point the water was separated between the Barcelona City Council and the irrigators and owners of the mills. In 1825, the low mine was built, consisting of 10 kilometres in length, which originated in the Reixagó, headed towards Barcelona, passed through the right side of the Eixample and ended in El Repartirador de Jesús, from where it was distributed in the lower part of the city (Canaletes, Portal de l'Àngel, Porta Ferrissa, etc.). In the 19th century, and as a result of the prolonged droughts that reduced the flow of the Rec, and caused serious harm to the population, the Barcelona City Council built, near the Besòs, a plant for capturing and treating underground flows. This is the group of buildings of the Montcada wells, built in 1879 according to a project by Barcelona's municipal architect Antoni Rovira i Trias.

Located in the district of Les Corts, the complex known as Casa Provincial de Maternitat is located on the block of houses bounded by Travessera de Les Corts and Carrer de la Maternitat, Doctor Salvador Cardenal and Mejía Lequerica Streets. The main access to the complex is from Travessera de Les Corts. The complex is made up of a large group of pavilions built in different phases and distributed within a large, enclosed area. The original core of buildings, located at the southern end of the plot, is composed of five pavilions arranged around a large rectangular courtyard. These buildings have a height development consisting of a semi-basement, two floors and attics. They show a clear compositional unity and general arrangement, with a unique treatment of façades and a game of textures achieved by mixing exposed brick with stone walls. While the plinths of the buildings are made of regular stone blocks placed at break-joints, on the other levels the work is of common masonry. These textures are separated at the level of the slabs by rows of work with a slight overhang, where polychrome ceramic friezes stand out along the entire perimeter of the building. The crowning consists of a barbican that goes around the entire perimeter simulating a defensive enclosure. The constructions started during the period of the Mancomunitat, meaning that the Pink and Blue Pavilions were designed by Josep Goday i Casals in a style closer to Noucentisme. The Pink Pavilion recovers the characteristic motifs of the Catalan Baroque, with the inclusion of sgraffitos (geometrising borders and baskets) and terracottas. The putti and the shield of the main door solved in the form of a shell were done by Canyellas, and the crowning is based on balusters and vases. The Blue Pavilion has earth-coloured sgraffito coverings on its façades; it received its name from the name of the glazed ceramic dome that crowns the central body. The Pavilion of Helios represents a turning point, bringing to the whole a building within the rationalist current of the GATCPAC. Founded in 1853, the Casa Provincial de Maternitat i Expòsits was originally located in the Casa de Misericordia (Carrer Montalegre), in the old town. With the hygienist currents of the moment, the City Council decided to improve the conditions of the institution by promoting the construction of buildings suitable for its sanitary function. For this purpose, in 1878 they acquired the Can Cavaller country house, in Les Corts. The architect of the City Council, Camil Oliveras i Gensana, together with the architects General Guitart i Lostaló and Josep Bru, designed the Lactation Pavilion, the two Infectious Pavilions and the Laundry between 1885 and 1889. In 1920, the transfer of powers of the charity services between the City Council and the Mancomunitat took place. The construction plans, which until then had been carried out by the institution, basically concerned the orphanage section, so Josep Bori drew up an ambitious project for the maternity section that should be developed on the land located to the north of the site. In 1915, the construction of the Pink Pavilion began, started by Rubí i Bellver and completed in 1924 by Josep Goday, intended to accommodate secret pregnancies or unmarried mothers. Between 1928 and 1942, the same architect built the Blue Pavilion, destined for the Maternity Clinic. Between 1933 and 1936, Goday built the Helios Pavilion, intended for children with tuberculosis, following the structural and aesthetic guidelines of GATCPAC's rationalism. After the Spanish Civil War, the institution lost the progressive and renewing attitude of the previous dynamic period and returned to being governed by the traditional concept of Christian charity, abandoning the concept of modern public service. In this context, the economy of the institution was very precarious and the construction of a new pavilion for children aged 2 to 3 could only be carried out thanks to the legacy of two million pesetas by Francesc Cambó i Batlle. The architect Manuel Baldrich i Tibau oversaw its construction between 1953 and 1957. With the start of work on the Llars Mundet in 1954 and seeing that the buildings of the Maternity Hospital were no longer suitable for the social needs of the moment, the Council began to reconsider the uses of the site. Finally, in 1985, the Action and Planning Plan for the Maternity Home was approved, drawn up by the architects Josep Lluís Canosa and Carles Ferrater. This document laid the foundations for converting the existing buildings into public buildings intended for equipment and services, concentrating all hospital services in the Blue Pavilion and turning the outdoor spaces into a park. Currently, the Lactation pavilion is occupied by the Consortium of Resources for the Integration of Diversity (CRID), the Tourism Delegation, the Area of Economic Promotion and Employment and the Tax Management Organization (ORGT); the Pavelló de Desmamats is the seat of the Ministry of Health of the Generalitat of Catalonia; in the old infectious disease pavilions there is the Directorate of Urban Planning and Housing Services, the Institute of Urban Management and Local Activities (IGUAL) and the Institute of Local Housing (INHAL); the Historical Archive of the Barcelona City Council was installed in the Laundry; the headquarters of the Distance Education University (UNED) was installed in the Pavilion of the Kitchens; the Pink Pavilion would cease to fulfill its function in 1974 and, fifteen years later, would host the offices of COOB'92. The Blue Pavilion has hosted, since 1993, the Hospital Clínic Health Consortium; the Cambó Pavilion has been home to the Jordi Rubió i Balaguer University School of Library Science since 1991; and since 1989, the Prat de la Riba Pavilion has been home to Les Corts Secondary School.

The site was originally a fabric factory, as evidenced by the various exposed brick buildings, with two-sided roofs, in the general arrangement and in what remains of the chimney, converted into a memorial to the donor V. Roca i Pi. The adaptation simply consisted of compartmentalising the interiors of the industrial units and adding accessory constructions. The Can Gusi factory (Miquel Gusi's sons requested a building permit in 1899) was dedicated to the manufacture of liturgical fabrics. By the will of Vicenç Roca i Pi (who died in 1852), related to the "Sociedad obrera de socorros mutuos", this asylum was created around the second decade of the 20th century.

Edifici amb planta en forma de H, amb un altre cos travesser i formant un pati central. Té planta baixa i dos pisos. Les façanes estan arrebossades i emblanquinades, i presenten obra de totxo vist marcant el forjat de la primera planta (mitjançant imposta), zones angulars, cornises i finestres. Obertures ordenades de forma regular, de llenguatge neogòtic. Capcers escalonats, de totxo vermell. L'interior ha estat modificat. A la dècada del 1970 es va reformar i ampliar l'edifici amb una nova església. Durant la Guerra Civil va funcionar com a Hospital Militar.

Edifici de planta rectangular amb dues ales laterals i un cos més ampli coincident amb el tram central de la façana que contenia l'escala d'accés al segon pis. Consta de dues plantes en el cos central i en una ala i de tres en l'ala esquerra, tercer pis que dóna a un terrat el qual porta a unes altres dependències. La façana principal tenia 46 metres de llarg, i en ella es mostra la divisió interna dels dos pisos - molt alts- gràcies a les finestres. Tant la cornisa com el contorn de totes les obertures estan remarcades pel treball amb diferent material. Té un pati posterior amb façanes plenes de vidres que contribueixen a donar llum a l'edifici. 1898.- s'accedeix a la construcció d'aquest edifici. 1901.- L'edifici, ja acabat, fou beneit pel mossèn Torres i Bages el dia 31 d'agost.

The complex takes up the entire block between the streets of Jacas, Marañón, Maragall and Claret. It is an isolated building, with a complex organisation, formed by two bodies arranged perpendicular to another central body. It includes several outbuildings, including a chapel and a battlemented tower. The roofs are generally two-sided tiles. The construction has openings of various typologies that are framed in brick. There are several entrances to the building, which is surrounded by a garden. At the back, the shelter of Sant Josep has been the subject of several expansion works. The Sant Josep and Sant Pere asylum was built in 1901, according to a project by the architect Josep Font i Gumà. In the Historical Archive of Ribes, there is a document dated 1947, the request to the City Council for works to expand the building, in accordance with the plans signed by the architect Josep Brugal i Fortuny.

Edifici que llinda amb l'antiga Creu Roja i l'antic convent de Carmelites, ara parròquia de Sant Josep. Forma part de l'espai de beneficència que a principis de segle XX s'ubicarà a la ciutat. L'edifici, propietat de l'Ajuntament, és d'estil noucentista, construït el 1912 amb elements de caràcter modernista. Cal destacar les finestretes superiors i la tribuna de l'entrada, que li donen una certa similitud amb l'edifici del costat, de Puig i Cadafalch (Creu roja). Malgrat tot, la concepció de l'estructura de la casa respon a una línia molt més racional, funcional i institucionalitzada. Segons el Catàleg de Patrimoni, on queda inclosa, queden protegides la façana i els volums, essent els interiors susceptibles de canvi. Esgrafiats De nova creació a les façanes, dissenyats i realitzats per l'artista Pares de Mataró a principis de 1988 amb motiu de les obres de reforma de l'interior i exterior de l'edifici. Els esgrafiats ocupen aproximadament 600 m de dibuix. Quan se li encarregà el projecte, en Parés va fer 4 avantprojectes, un modernisme moderat, un de florit, un noucentista i un de simple. L'arquitecte Martí Coll va triar el primer, el modernisme més florit. Els motius són bàsicament flors i ones del mar, que es poden apreciar a les sanefes que volten l'edifici. A la façana de ponent destaca l'escut de Catalunya i la vara de Sant Josep, ja que la beneficència encara depèn de la parròquia. Igual que l'edifici annex al convent, l'emplaçament de la beneficència municipal i l'asil de gent gran fou concedit a l'ajuntament l'any 1942. L'origen de l'asil és degut a una disposició del Capità General del Principat, l'any 1836, manant a totes les poblacions recollir tots els ancians i pobres i donar-los alberg. Les dependències municipals resultaren insuficients, ja que al mateix lloc hi havia una escola primària per a nenes pobres, i se'n construí l'actual beneficència municipal de Sant Josep, l'any 1912, amb entrada per la muralla de Sant Llorenç