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.

The development and construction of the passageway and the buildings that make it up are the work of the bankers Arnús i Codina, who founded the Arnús bank on this site in 1852. Although the original project for the construction of the complex, consisting of three irregular plots around the passageway, remains unknown, the Elies Rogent archive allows us to attribute its authorship in 1864 to this architect who, in 1880, took charge of the extension, better documented, of one of the buildings. The complex is an excellent example of this type of urban planning operations which, in the second half of the 19th century and at the same time as the construction of the Eixample, were carried out to make better use of the interior space of large plots of land. An example of a very similar contemporary construction is the well-known Passatge del Crèdit on Carrer Ferran. The current state of conservation is quite precarious, and the skylight that covered the passageway and the clock that gave it its name from the beginning - a work by Billeter - and which indicated the days of the month, the phases of the moon and the time in different cities around the world, have disappeared. Passatge del Rellotge is located within the block delimited by the streets Obradors, Rull, Escudellers and Dels Còdols, opening onto the latter two streets with the numbers 38-40 and 2-8, respectively. The entrance is marked on both streets by a large semicircular arch that monumentalises them. These are two stone doorways with ashlars and stone voussoirs that form an arch that imposts on a straight lintel where the sign ‘PASAJE DEL RELOJ’ is located. This arch is covered with a highly ornamented gate that complements the one that closes the entrance to the passageway. The two entrances are covered by a flat wooden ceiling decorated with wooden mouldings and fleurons, currently painted white. The passageway is in the shape of a ‘T’ with unequal sides, one with an exit at Escudellers, another at Còdols and the third, shorter one, with no exit. As mentioned above, the Passatge del Crèdit connects and gives access to a group of buildings that are distributed longitudinally on either side of this passage. The surrounding buildings – part of which was originally intended to be the headquarters of the Arnús bank – have a simple unitary design, with floors separated by mouldings. The buildings are six storeys high, with a ground floor, mezzanine and four additional storeys. The ground floor is mainly used for commercial space, although some of the entrances to the dwellings are also located in this passageway. Some of the openings on the ground floor have been modified and converted into windows. This floor is separated from the mezzanine level by a moulding sculpted with a Greek-inspired geometric border and topped by a small cornice. The openings on this floor are balconies with sills and iron railings, some of which are flanked by pictorial panels reproducing a yellow frame framing a white space. On the other levels, the openings are configured as cantilevered balconies with stone slabs and iron railings. This slab reduces its width towards the upper floors and disappears on the top level, becoming a cantilevered balcony like the one on the mezzanine. Despite the lack of specific decoration on the openings, a moulding is developed at the level of the balcony slab, which is repeated on all the levels and visually delimits them. It is worth noting that the windows on the first floor are higher, since, as in the case of the balcony slabs, they become lower towards the upper levels. Finally, the building is crowned with a cornice and a flat, walkable roof. Also noteworthy are the rounded corners of the buildings, which retain the moulding of the different levels and, in the case of the mezzanine floor, the pictorial panels.

The Ciutadella Park extends over the remains of the old fort that was built in the 18th century to control Barcelona militarily, together with the Montjuïc Castle, and to be able to subject the city to crossfire if it revolted again. Once the space around the city had been cleared and the Cerdà plan had begun its works, the military imposed the condition that the land should be turned into a park for the fort’s demolition. This is submitted to a competition, which is won by Josep Fontserè thanks to his ability to hand over the land against the remains of the Ribera district, demolished precisely to build the fort, and against the growing city organised by Cerdà. Against the Ribera district, Fontserè organises an urbanization which depends on the Passeig del Born and the current Passeig Picasso, both parallel, culminating in the Born market. Against the Eixample, Fontserè has what will become the Passeig de Sant Joan. The project suffers from two major setbacks: the first one happens when Fontserè is forced to preserve part of the Ciutadella buildings (such as the one that currently houses Parliament of Catalonia) and to have a water tank that ends up being turned into a monumental waterfall. Fontserè does the project with the collaboration of Antoni Gaudí, then still a student. The second setback is the 1898 Exhibition, which delays its development. This is carried out episodically over the following decades, never completed on the southern slope where Mayor Porcioles will end up building the Zoo that prevents the connection with Poblenou. Today, all the romantic-inspired gardens, preserved by existing buildings and those built in the early 20th century, which produce one of the most pleasant walks in the city, are preserved. The monumental waterfall, where Gaudí played a decisive role, is still open to the public and can be visited. The park is guarded by a perimeter fence and the Zoo is still awaiting relocation. When this is done, the park will finally reach its original perimeter.

The buildings are located right at the beginning of the Passatge de la Banca (formerly Passatge del Comerç), designed by the architect Antoni Rovira i Trias between 1865 and 1866. It was commissioned by the owners Ignasi Girona Agrafel, Mariano Casi i López and Miquel Martorell i Peña. The site was named after the former Banca de Crédito y Docks, located in the background, which is now the Wax Museum. All the buildings, including these, are the work of Elies Rogent i Amat, who built them between 1869 and 1882. They are two identical buildings occupying, respectively, numbers 1-3 and 2-4 of Passatge de la Banca, located at the beginning of the latter and framing it from the side of La Rambla, where they have the main façades. Each one consists of a ground floor, a mezzanine, a main floor and two other floors. The ground floors are articulated by four simple openings that belong to commercial premises, given that the entrance to the building is through the open access to the side façade, located inside the passageway. The mezzanine has balconies with wrought-iron railings. In the case of the main floor, the four balconies are connected by a continuous iron railing resting on a stone slab, which is supported by a group of eight corbels. Only the pediments of the four main balconies are decorated with a very stylised vegetal relief. The other balconies on the upper floors, in addition to being individual, have lost all ornamentation. A series of vents precede the straight, moulded cornice. The facing is stuccoed with padded strips on the ground floor, mezzanine and corner, while the rest of the façade is plain.