The Palau Montaner, by the publisher Ramon Montaner, was begun in 1889 under the direction and design of Josep Domènech i Estapà. But due to disagreements with the owner, he ended up entrusting it to his nephew Lluís Domènech i Montaner. Domènech i Montaner did not alter the architectural structure of Domènech Estapà's palace-villa, which was already built on the ground floor and first floor, but he did decide to change the planned decoration of the façades and the interior. As can be seen in the photographs and plans of the Domènech legacy, one of the interventions on the exterior consisted of introducing a powerful eaves on the roof and a richly decorated ceramic frieze on the upper part. The decorative frieze had ornamental stone elements and ornamental elements of glazed ceramic and metallic reflections with floral and heraldic motifs and references to printing. Inside, he designed a majestic vestibule with an imperial staircase covered with a spectacular stained-glass skylight that floods the space with natural light. The entire palace is decorated with mosaics, sculptures, stained glass, upholstery and drapery and woodwork made in collaboration with Eusebi Arnau, Antoni Rigalt and Gaspar Homar, among others. He also had the help of his collaborator and friend Gallissà. It is currently the headquarters of the Government Delegation in Catalonia.

In 1840, Barcelona City Council decided to introduce gas lighting for the city's streets and buildings. The first concession to manufacture gas in Barcelona was signed by Charles Lebon on 14 June 1841, for fifteen years. The recently founded ‘Sociedad Catalana para el Alumbrado por Gas’ (Catalan Society for Gas Lighting) set up its factory in Barceloneta, next to the old Don Carlos gate. At the beginning of the 20th century, the factory complex was extended and in 1907 Josep Mansana applied for a licence to build a new office building inside the gas factory. The architect Josep Domènech i Estapà, who had already built the headquarters of Catalana de Gas in Portal de l'Àngel and Torre de les Aigües, was in charge of this construction. The building is currently located in the Parc de la Barceloneta, bounded by Carrer Doctor Aiguader, Carrer del Gas, Passeig Marítim de la Barceloneta and Passeig de Salvat Papasseit, facing the building on Carrer Ginebra. It is currently an isolated building with a rectangular floor plan. Volumetrically, it is two storeys high with a rooftop enclosed by iron railings. The façades, with a stone base and the rest stuccoed in yellow, are characterised by a careful use of exposed brick as an ornamental element, placing it in the framing of the architectural openings, in the decorative moulded elements or in the cornice. The southern façade, where the main entrance to the building is located, stands out. This façade features a vertical axis formed by three openings unified under a segmental arch and crowned by an undulating gable. The segmental arch is not the only one used, as other openings are covered by semicircular or angled arches. Another decorative element of a modernist character that Domènech i Estapà used are glazed ceramic medallions with geometric ornamentation.

La Barcelona del darrer terç del segle XIX va ser testimoni d?una ràpida expansió pel nou districte de l?Eixample, que s?anava ocupant amb habitatges i edificis públics. En molts casos, les noves construccions substituïen instal·lacions obsoletes de la congestionada Ciutat Vella. El Palau de Justícia és un d'aquests nous equipaments i pretenia agrupar els jutjats de la ciutat i la Reial Audiència en un nou edifici monumental que donés la mesura de la nova ciutat. Projectat l'any 1886 per Enric Sagnier i Josep Domènech i Estapà, va ser el primer encàrrec important d'aquests joves arquitectes recent titulats. El projecte anava acompanyat d'una memòria extensa on raonen l'elecció dels materials i les formes de l'edifici: consideraven que el material representatiu de la civilització moderna era el ferro però que la funció representativa de l'edifici requeria la solidesa de la pedra per expressar el pes de la justícia, i també creien que la societat encara no estava preparada per acceptar la utilització d'estructures de ferro a edificis monumentals. Per aquest motiu, van prendre una decisió arriscada i innovadora a l'època: deixar el ferro a la vista a la coberta de l'escalinata monumental i al gran saló del primer pis, però convenientment decorat. El conjunt -que es va voler organitzar d'una manera racional i pràctica- s'estructura en dos cossos simètrics, al voltant de patis, on se situen els jutjats, i al centre, l'accés amb grans espais adequats per als grans processos o activitats representatives. Especialment destacat és el gran saló anomenat dels passos perduts, amb un dels testers ocupats per una gran composició pictòrica de Josep M. Sert. Altres àmbits de l'edifici van ser decorats pels pintors Joan Llimona, Fèlix Mestres i Arcadi Mas i Fontdevila, entre d'altres. Exteriorment, el Palau de Justícia, un dels primers edificis monumentals de la ciutat, utilitza un repertori decoratiu que pren elements de diferents estils. Les escultures que recorren les façanes, amb retrats de juristes i escenes al·lusives, també van ser obra dels més destacats escultors catalans del moment, com ara els germans Vallmitjana, Manuel Fuxà, Josep Llimona o Miquel Blay. El conjunt apareix coronat per una estàtua de Moisès, obra d'Agustí Querol.

The building is located on a plot between partitions, with the main façade facing Carrer Còrsega. It integrates a building of large dimensions within the urban fabric of the Eixample. To this end, we have proposed three different types of façade that respond to the different conditions of its immediate surroundings: the façade on Carrer Còrsega, the façade on the interior of the block and the façades of the hotel courtyards. The façade is split into two planes, one of glass and the other of ceramic. On the main façade, the openings overhang the façade plane by means of brass boxes, creating a game of light and shadow that reduces the screen effect of the building, achieving a better proportion on a city scale. In the same vein, the two large galleries are reminiscent of the skyline of the former Bayer factory. At night, these boxes are illuminated, giving the effect that the boxes float on a black canvas. These mechanisms help to break up the longitudinal view of the façade, which occupies almost the entire block. On the ground floor, the structure of double-height metal porticoes helps to build a base that seeks the vision of an interior garden and gives presence to the building. The façade here is set backwards, this time with the glass set back, reaching a depth of up to 1 m from the base to the top of the building. It is a façade that recognises its visual foreshortening and emerges from this condition with the greatest possible advantage, building a façade with thickness and with shadows, which, from its complexity, in this case it allows to simplify it in order to integrate into the surroundings. The back façade, with joinery also situated on the interior plane, generates a game of openings and groups the first two floors into a single opening to achieve greater verticality. The hotel's interior courtyards acquire special relevance and not only provide ventilation for some of the simpler rooms but also open on to the interior distribution corridors. To resolve the possibility of visual interference between corridors and rooms, a skin of vertical diamond-shaped metallic tubes has been built that, in the manner of large curtains, resolves this problem. At night, hidden lines of LEDs backlight the tubes, offering a suspended image of the light metallic element in front of its enclosure or courtyard façades. One of the main challenges has been the industrialisation of any construction solution. This is a very light ventilated façade built from large modules of almost 5x3 metres that were sold fully finished from the workshop. This solution has had many advantages, including absolute control over the finish and faster assembly. Minimising the number of different materials (black ceramic panel, glass and brass-lined structure) has simplified not only its formal solution, but also its construction.

Funerary monument with a cross with three arms floor plan formed by three graves, which rest on a plinth and small columns. The faces of the tombs are ornamented with arches and blind columns. The rear arm of the cross is shorter in length and gives access to the interior of the pantheon through a porticoed door. These three arms are crowned in the centre by an angel sitting on a throne that rises with an ornamented archivolt ending in a cross. In his hands he carries a wreath of roses.