Passeig de Gràcia, the axis of the modern Barcelona that emerged from the application of the urban expansion plan designed by the engineer Ildefons Cerdà, has a very singular beginning thanks to these two sister houses, which also benefit from the perspective from the neighbouring Plaça Catalunya, the city centre. As in other cases, they are two independent blocks of flats, for two members of the same family, resolved with a unitary image. Unusually, however, Sagnier gives the ensemble a purely neo-Gothic appearance which was normally only applied to religious architecture but not to civil architecture. In both blocks, the main floor was reserved for the private residence of the owners, with independent access via a staircase of honour; the rest of the floors were for rented dwellings, which were accessed by another entrance. The interiors were enriched with German furniture and contributions from craftsmen and artists, including the stained glass windows of the Rigalt i Granell house and the tapestries painted by Alexandre de Riquer.

It was Riquer, Sagnier's colleague in the Cercle de Sant Lluc association of Catholic artists, who years later decorated one of the shops on the ground floor, specifically the one that overlooked the Ronda de Sant Pere, which was known as Granja Catalana (Catalan Farm). We do not know whether the architect was responsible for the design of this space. On the other hand, some sources of the time attribute to him the Comas shirt shop, which was on the corner and which in 1913 won one of the Barcelona City Council's annual prizes in the category of establishments.

Severely damaged over the years, the double building was remodelled in 1984 by the architects Martorell-Bohigas-Mackay and Espinet-Ubach, who tried to restore the original appearance of the exterior, enhancing the urban impact while preserving some of the decorative elements, such as the staircase of honour, the stained-glass windows, etc.

The pair of buildings known as Casa Pascual i Pons was designed by the architect Enric Sagnier i Villavecchia and built between 1890 and 1891 for two members of the same family, Sebastià Pascual and Alexandre Pons.

These houses are located in the Eixample district of Barcelona, in a block framed by the streets Casp, Pau Claris, Ronda Sant Pere and Passeig de Gràcia, the properties being assigned to numbers 2 and 4 of Passeig de Gràcia.

Casa Pascual i Pons is a building with a polygonal ground plan and six levels of elevation (ground floor, main floor, three more floors and the under-roof level), with a notable volumetric layout featuring a variety of typological solutions. It is worth noting the articulation of the façades by means of towered elements located on the chamfered side.

The location of the house on the southernmost side of the block means that it has four fronts, one open on Carrer Ronda Sant Pere, two on Passeig de Gràcia and one on Carrer Casp. Thus, number 2 corresponds to the Ronda Sant Pere chamfer and number 4 to Carrer Casp.

The façades of the Casa Pascual i Pons are characterised by their symmetrical composition with elements of clear Gothic inspiration - especially visible in the openings - and their exposed stone finish.

The ground floor of the façade is configured as a body of openings of a similar typology which currently form the access to the commercial premises on this level as well as their shop windows. The two entrance doors to the respective buildings are also located, which are configured as large stone doorways in the neo-Gothic style that dominates the entire construction.

The first floor, corresponding to the main floor, is probably one of the most emblematic of the complex, not only because of the Gothic-inspired tracery windows but also because of their height, and the balconies with openwork stone railings located on the Passeig de Gràcia side.

The rest of the levels have rectangular moulded windows that are based on late Catalan Gothic models. Some of these windows open onto balconies with stone overhangs and iron railings, which are richly worked with geometric and floral motifs that have a certain similarity with the motifs of the tracery. The last floor of windows, corresponding to the fifth level of the property, is configured as a body of tri-lobed crown windows with a central colonnade that reproduce the medieval models characteristic of the city of Barcelona in the 13th century.

The last level of the Casa Pascual i Pons corresponds to the area under the roof with low openings between square pillars, which support the large wooden eaves that crown the building.