La Casa de les Altures va ser encarregada pel director general de la Societat d'Aigües, l'enginyer belga Nicolàs Recúlez Chevalier. La casa rep el nom perquè al costat hi havia situats els motors d'elevació d'aigua en la xarxa d'abastiment generada des de Dosrius. Es tracta d'un edifici paral·lepípede de base rectangular amb un buit central que correspon a un pati i amb un cos adossat a la façana sut en forma de porxo. L'espai lliure que queda configurat al volant del pati —a base d'arcs sustentants en esvelts pilars— permet rcòrrer el passadís al qual donaven originalment les habitacions de la casa casa —la planta baixa era la zona de dia, menjadors, sales, biblioteca...—. Les golfes eren de sostre més baix i s'hi situaven les calderes, safareigs i magatzems diversos. L'orientalisme emprat en la resolució del llenguatge formal de l'edifici es reflectia en la profusa decoració als paviments, cel-rasos, arrambadors, baranes de forja.

Edifici Industrial formant part de la trama urbana. Antiga fàbrica tèxtil. Conjunt d'edificis vestits en diferents èpoques. Destaca el cos d'accés entre mitgeres amb façana el carrer Llussà, de planta quadrada amb l'eix de simetria. A un costat hi ha la caixa d'escala. Façanes de totxo vist amb junta seca. Obertures en arc rodó, de totxo col·locat a plec de llibre. Impostes i trencaaigües també de totxo. Remat amb cornisa i baranes. Xemeneia de totxo.

The building - current headquarters of the "Mutua General de Seguros" - was built between 1894-1896 as a representative and office building for the Company of Gas Lebon following a project by the architect Francesc de Paula Villar i Carmona. The plot is part of a unique double block delimited by Carrer d'Aribau, Diputació, Balmes and Gran Via de les Corts Catalanes, mostly occupied by the large building of the University of Barcelona. It is a quadrangular building that sits on a rectangular plot, much of which was originally intended for a garden and is currently used as a car park. One of the most relevant aspects of this building and what makes it one of the most outstanding constructions of the end of the 19th century in Barcelona is precisely the originality of the project. We are referring to the fact that it looks like an exempt building despite being the head of a continuous band of buildings aligned on Carrer de Balmes. The architect achieved this effect by attaching the building to the middle of Carrer de Balmes, but opening its main façade towards the garden which was accessed from the Gran Via. The building consists of five levels of height clearly differentiated into three bodies. The lower one, almost like a base, has a very different material treatment from the rest of the façade. Made with stone blocks arranged in regular rows, it has two levels, a lower one where the current entrance to the Mutua is located (on Carrer de Balmes). Above this lower level there is a second floor, which opens to a series of low arches that give it the appearance of a gallery or very diaphanous body. However, this second level gains prominence in the area of the old garden where the main entrance was located. On this front, a monumental staircase with a stone railing gives access to the interior of the building through the second level. This entrance is also protected from atmospheric agents such as sun or rain through the overhang of the balcony that develops on the main floor. Regarding the rest of the façade, the homogeneity of elements and composition on the three fronts should be highlighted. In this sense, on top of the stone base, where the openings of the two interior levels are framed, the body of the façade is properly developed. Separated from the lower one by a running cornice, this becomes more prominent in the corners, where the towers develop, becoming an overhang that forms the base of the tribunes on the main floor. These tribunes are configured as a rectangular element resting on sculpted corbels, with a stone railing and Ionic columns that support an entablature that is the base of the balcony developed on the second floor. The windows on the main floor are framed by Ionic pilasters that incorporate several diamond-pointed ashlars into the shaft and that become the only ornamental element apart from the smooth entablature that crowns them. On the second floor, on the other hand, the windows – although they keep the same type of pilaster – are configured as a spandrel balcony and are finished with semicircular pediments that contrast with the mouldings on the top floor. The building is finished with a powerful cornice to which circular openings open in the form of portholes sculpted with floral decoration and which coincide with the vertical axis on which the windows are arranged. Above the cornice there is a last floor with mansards and a roof on a slope which is the result of a later work. As for the corner towers, as already mentioned, they present one more level than the rest of the façade, in which a kind of open gallery develops through a triple opening with arch and central pillar. The towers are covered with a false mansard roof that is topped with a flat roof with an iron railing. Unlike the base level made of stone, in the rest of the façade the predominant material is brick, arranged in horizontal strips and which contrasts with the whiteness of the artificial stone of the mullions and lintels of the windows. The building was designed by the architect Francesc de Paula Villar i Carmona in 1894 on behalf of the company Gas Lebón – one of the pioneers in the state in the production and marketing of gas for public and private lighting of the city. The original project did not foresee the mansards, which are an added element that considerably modified the perception of the façade, as it visually narrows the angular turrets and reduces the verticality of the whole in general.

Situada a la zona portuària de Barcelona, la Nova Duana es troba en l’àrea d’expansió dels nous molls de càrrega i descàrrega i substitueix l’antiga duana, instal·lada en un edifici del segle XVIII proper al Port Vell. La construcció nova buscava monumentalitzar l’entrada marítima a la ciutat i, al mateix temps, pretenia racionalitzar les operacions de control i taxació de mercaderies. En aquest projecte Sagnier va tenir la col·laboració de l’arquitecte Pere Garcia Fària, especialista en el sanejament de la ciutat i enginyer de camins, canals i ports. L'encàrrec va ser formulat l’any 1890, però el projecte no va ser aprovat fins al 1895, després de sofrir molts entrebancs i reformes, ja que en tractar-se d’un edifici públic controlat per l’Estat la seva traça havia de ser aprovada per la Reial Acadèmia de Belles Arts de San Fernando. L’edifici adopta una disposició en planta en forma d’H, ja que la idea inicial dels tècnics de duanes era que les mercaderies entressin per un dels extrems, passessin pel saló de reconeixements i sortissin per l’altre extrem, però en la pràctica la utilització no va poder ser tan racional, a causa dels tràmits burocràtics. Exteriorment l’edifici adopta un aspecte monumental, amb certes ressonàncies de l’arquitectura centreuropea, especialment en la façana que dóna a la ciutat, mentre que per la banda dels molls les línies arquitectòniques són més sòbries. Com en altres projectes, Sagnier evita l’efecte de monotonia de la façana principal mitjançant la combinació de línies horitzontals a l’àtic i verticals a les finestres de la planta principal, amb els contrapunts dels dos cossos laterals i, especialment, amb el nucli central que acull l’accés. Aquest cos central, on apareix la inscripció «Aduana» en severes lletres capitals, concentra la major part del treball escultòric i està coronat per un escut d’Espanya i dues grans àguiles, obra de l’escultor Eusebi Arnau, mentre que a cada extrem es troben quatre grius o lleons alats. Les cròniques de l’època van criticar les excessives proporcions d’aquests elements decoratius «pertenecientes a la fauna» i el fet que l’edifici no expressés amb claredat la seva destinació.

In 1906, August Font i Carreras was commissioned to design the Gracia branch of the Caixa d’Estalvis i Mont de Pietat de Barcelona. August Font himself had already designed the Caixa de Barcelona building in Plaça Sant Jaume and a branch office in Carrer de Sant Pau. The building is located on the block bounded by Carrer Jesús, Carrer Sant Pere Màrtir, Carrer de Gràcia and Gran de Gràcia, where the façade opens onto the street. The building is inscribed in a regular polygonal plot and is developed on three levels of elevation: ground floor and two floors, topped by a rooftop. Today, only the façade remains of the original architectural project, which consists of a three-storey rectangular façade and a five-storey tower attached to the far left-hand side of the building. Built entirely of stone, it is notable for the presence of elements from the Catalan medieval building tradition, such as the mullioned windows on the first floor and the rooftop on the top floor. Even so, these elements are not faithful to the traditional forms, but were reinterpreted by the architect, giving the complex a Gothic appearance. The tower, which has a hip roof, has a door on the ground floor leading to the staircase. It is a door with a mixtilinear lintel and sculpted mullions, with two female figures accompanied by vegetal elements on the imposts. Crowned by the coat of arms of Barcelona, the ground floor is separated from the next floor by a moulded impost, where there is a niche in the form of a window with an image of the Virgin Mary. The first floor opens onto the street through a window with a mixtilinear lintel and, finally, the clock face above it. The tower is closed with a large cornice on corbels on which the top floor of the building is built – a series of windows between columns form a continuous gallery that surrounds the tower on all four sides. On the ground floor there is the entrance to the current offices of La Caixa, with a central doorway flanked by two pairs of windows with large arches on columns resting on a high plinth. This ground floor is separated from the first floor by a sculpted cornice on which we can read: ‘Caja de Ahorros y Montepío de Barcelona. Sucursal de Gracia' (Barcelona Savings Bank and Montepío de Barcelona. Gracia Branch Office). On the first floor there are three crown windows inspired by the Middle Ages, but reinterpreted both in the shape of the lintel and the plant decoration. Finally, on the second and last floor, there is a gallery that recovers the medieval and Renaissance style with mixtilinear arches on columns. Above this level we can find the eaves and the roof railing. The latter, with moulded elements in the form of battlements, is decorated with ceramic and iron elements.

Two-storey house from 1920 with a detached ground floor and a separate gate at the entrance. It has a very large garden which continues on the other side of the stream, with a large entrance gate. Inside the garden there are small temples, fountains and other architectural elements. The building has influences from different styles, as the author was a man who traveled a lot. The influence of the Vienna Secession stands out.

Building between ground floor partitions and two floors with two façades, the main one on 20 Rambla de Nostra Senyora and the rear one on 33 La Palma Street. On Rambla de Nostra Senyora the façade has an asymmetrical composition, with a ground floor entirely transformed by the current commercial use, a main floor with a large tribune with three openings and a balcony located to its right, and an upper floor with a central low-arched window, two side windows and a balcony spanning the window centre and the right window. The top of the façade is formed by a stepped crowning with floral ornamentation with retouches and sgraffito. On La Palma Street, the façade presents a symmetrical composition of the upper floors, while the ground floor has the access portal shifted to the right. On the main floor there is a balcony with a wrought iron railing that takes up the entire width of the façade, with two arched openings crowned by circular pediments. On the upper floor there are two recessed openings with a sill that protrudes from the façade. The facing of the façade is smooth and is crowned with a cornice supported by corbels. The house was designed by the architect Antoni Pons i Domínguez.