The project seeks to restore the typological and morphological values of this Renaissance Palace, locating the broadcasting and public attention services of the archive. The action determines a remodeling of the area of some old houses where the core of vertical communications and public services are placed, and with the general control on the ground floor of this core. The exhibition space is in the corridors on the ground floor, which has independent public access from the rest of the archive. The meeting room is on the main floor, with a foyer that takes advantage of the existing carpeted room and representative offices. On the second floor, the crevices are left clean, open to various didactic and administrative uses, and an ambulatory is enabled above the patio loggia to ensure circulation. The internal services are in the third tier. The action tends to value the building as a public facility, underlining the function of the courtyard as an open space in the city, with double access from Rei Square and Comtes Street.

Un dels primers edificis públics de la ciutat vuitcentista en expansió, té una planta baixa i tres pisos. La façana té ecos del neoromànic d'Elies Rogent, visibles en l'ús d'arcs de mig punt i motllures en funció de guardapols. Està flanquejada per columnes corínties de fust estucat imitant carreus rústics. Hi destaca el saló de Sessions.

Vila de Gelida House is located at the end of the block that forms a chamfer with Barceloneta and Colom Streets. It is a public building consisting of a basement, ground floor and two floors, covered by an Arabic tile roof. The building has undergone several refurbishments. It is a brilliant example of the eclectic style. The chronology of the Vila de Gelida House began in 1879, the year the foundation stone was laid, and the author of the initial project was the architect Laureà Arroyo i Velasco. Only a part of this project was carried out. In 1924, the interior was redistributed, making it suitable for housing, under the project of the architect Josep Ros i Ros.

Torre de baixos i dos pisos al cos central i d'un sol pis als laterals. Al nivell de la planta noble del cos central, un balcó molt sortit es recolza sobre columnetes de ferro. Conjuga, amb sentit eclèctic, elements clàssics, com les columnes del vestíbul, els carreus en punta de diamant, les obertures i les proporcions en general amb elements medievals, com els merlets i la torreta central. El jardí d'accés a la torre ha estat eliminat per a obrir l'avinguda del Marquès de Sant Mori i ampliar la plaça Trafalgar.

Isolated building that takes up an entire end of the block. It is located between General Cortijo, Parlament and Ateneu Streets. It has façades on General Cortijo and Parlament Streets, as well as a large garden at the back. The house consists of a ground floor and two floors, with a roof and terrace. There is a rear porch with bay windows opening onto the garden. The unit responds to the language of eclecticism. The house is located on the large 19th century plot that was later linked to Poble Nou. This is the old Post Office building.

In 1887, the Barcelona City Council called a tender to renovate the Casa de la Ciutat as a residence for the royal family during the Universal Exhibition of 1888. Domènech i Montaner carried it out. The Casa de la Ciutat building, of medieval origin, had arrived at the beginning of the 19th century in a deplorable state of repair. Various restoration and extension works carried out around 1820 had improved it somewhat. But the royal family had to be housed. At first the competition was declared void, and Mayor Rius i Taulet entrusted the project to Antoni Gaudí. He even presented some plans, but the Government Commission urgently commissioned Domènech i Montaner to design the project, and his went ahead. His proposal was not carried out in its entirety, and in many cases it was simplified to speed up construction, which took little more than two months. Domènech's contributions were of a constructive and distributive nature, and the restoration and reinterpretation of the interior decoration. A new monumental staircase was built to dignify access to the first floor and the space between the courtyard and the Saló de Cent was redistributed. The mayor's office and other municipal offices were relocated to accommodate the royal family. Domènech also recovered the old Gothic access gallery to the hall by demolishing all the partitions that covered the arcades and recovering the geometry of the buttresses, which had been heavily modified and had caused serious structural damage. The medieval polychromy of the coffered ceiling was recovered, windows were uncovered and new stained glass windows were installed, cabinetwork, upholstery and flooring work were carried out and skylights were created to provide natural lighting and electric lamps. Once the royal visit was over, Domènech asked for the decorative works and structural reinforcement to be completed, but they were not carried out. The modifications that were made to these spaces over the years made a large part of Domènech's work disappear.

A group of civil buildings, currently owned by the Piarists, made up of many outbuildings, among which there are often no stylistic relationships. One of the characteristics of the complex is its strong eclecticism: from a neoclassical to neo-Gothic façade mixed with neo-Arabic elements; classical columns supporting horseshoe arches; use of brick combined with the use of stone and flat roofs with pinnacles; and classical sculptures coexisting with modernist lampposts. The complex is surrounded by a large garden which also shares its general characteristics – alongside the French-style cypress trees, there are palm trees. Originally there was Mas Torrella, dating from the 14th century. At the end of the 19th century, in 1890, the property passed into the hands of Antoni Borrell, who left it to the Pious Schools when he died. Antoni Borrell, Governor of Catalonia, was the one who ordered the construction of the current building.

The building is located in the 19th century Eixample. The main façade overlooks the Rambla de Nostra Senyora. It is a construction between partitions and it is at the corner of a covered passage through which it is accessed. It consists of a ground floor and a main floor, with an Arabic tile roof on two sides facing the side façades. It presents an eclectic language with reminiscences of wooden agricultural constructions and ceramic tiles. The Agricultural Centre was the society of rural owners. Their agricultural talks started in 1900. There were also artistic demonstrations and dances. During the Civil War it was the Revolutionary Committee’s headquarters. Later, a cinema was built inside.