Passatge Bacardí, located in the Ciutat Vella district, is a covered walkway, suitable exclusively for pedestrians, which links the Rambla, at number 42, with the Plaça Reial. This passageway was built in the mid-19th century next to the building constructed at numbers 40-42 of the Rambla for Ramon de Bacardí, making it one of the first covered walkways in the city. Access to the passageway from the Rambla is through a doorway with a semicircular arch. The doorway is flanked by two low pilasters that rise up to the height of the beginning of the arch. At this height there are two imposts from which the pilasters rise again until they reach the corbels of the balcony located just above the entrance to the passageway. The door can be closed by means of a wrought-iron grille, the arch part of which is fixed and decorated with radial geometric motifs emerging from a central medallion with the letter ‘R’ and, below it, the year ‘1856’. The doorway has two leaves with austere vertical bars. Access from the Plaça Reial is through a similar doorway, although it is somewhat less elaborate. Once inside the passageway, it has two different sections with different roofs. The section closest to the Rambla is covered at the height of the ceiling of the mezzanine by a beam parallel to the street that supports the upper building; on the other hand, the half closest to the Plaça Reial is covered by a glass roof that gives light to the whole space. The ground floors and windows of the mezzanines located on both sides along the passageway have a uniformity that gives coherence to the whole. All the shop doors and the mezzanine window above them follow a pattern that is repeated throughout the space. Each commercial opening and the mezzanine window are flanked by pilasters with a shaft with a larger volume than the rest of the element, a shaft with a vertically grooved lower section and a plain upper section with a single rectangle in relief, crowned by an Ionic capital. At this height, two sculptures of children support the dust-covering that covers the window. Between the window and the lower door is the space where the name of the shop was originally placed. The window railings are made of wrought iron. One of the most remarkable elements of this passageway is the gallery that crosses it parallel to the street at mid-height. It is made of an iron structure with elaborate corbels and it is completely glazed.

In 1865-66, the architect Antoni Rovira Trias designed a passageway for a group of three landowners (Girona, Martorell and Casi) which, under the name of ‘Pasaje del Comercio’, was to join the Rambla with what is now Carrer de Josep Anselm Clavé in the shape of an ‘L’, forming a small irregular octagonal square at the corner. In the report presented together with the project, Rovira envisaged a building with unitary façades. Although he himself designed an entrance, the buildings that were built in 1869-82 framing it are the work of Elies Rogent. At the end of the small square (numbered 8 according to the parcel list, but with the number 7 on the door) is the former building of the Banca del Crédito Docks – since 1973 occupied by the Museum of Wax – with a curious convex marble façade, according to three sides of the octagon. The complex is interesting as an example of one of the different types of passageways that were opened up in the second half of the 19th century in the interior of the old city in order to obtain a larger building area, and which constitute the most important urban reforms carried out at that time in the old quarter.

Un primer pont metàl·lic fou projectat per l’enginyer i Premi Nobel de Literatura (1904), José Echegaray Eizaguirre. Inaugurat l’any 1868, en destacaven les historicistes i aparellades columnes dòriques que el sostenien. Degut a la seva perillosa estretor, fou profundament remodelat l’any 1913 tot substituint els suports clàssics per les actuals piles de pedra on descansa una biga-calaix metàl·lica, reblada i dimensionada per a una amplària de doble via. El tram més afectat pels bombardejos de la Guerra Civil fou reconstruït amb perfils metàl·lics que minvaren la seva alçària. Amb el desmantellament de part del by-pass ferroviari de Tortosa, el popularment conegut com a ‘pont roig’ es va condicionar per a ús turístic esdevenint el punt de partida de la Via Verda la qual recicla el traçat de l’antic ferrocarril de la Val de Zafán entre Tortosa i el Baix Aragó.

Passatge de la Pau is the result of an urban planning intervention in the second half of the 19th century in the Gothic quarter of the Ciutat Vella district. The building complex forms a formal architectural unit whose aim is to achieve a large number of new dwellings on a small plot, while maintaining optimum conditions of habitability. Passatge de la Pau passes through the middle of this complex, maintaining the urban continuity of the roads, which is only altered in height, as parts of the building pass from one side of the passage to the other. The building is made up of two main volumes on either side of the passageway. Three bridging bodies link the two volumes to form two open spaces without affecting the passage through the passageway. This curious typology of spaces is emphasised by the fact that at the ends, at the entrance and exit, the raised volumes are integrated into the street façade in such a way that access to the passageway is limited to simple doorways. This does not prevent vehicles from passing through the passageway. The buildings have a ground floor and four storeys. The raised bodies are three storeys high and rise from the second storey, their cornices being aligned with the rest of the main volumes around their perimeter. Of these two volumes, the east-facing one is wider, as it has six bays, while the other is much narrower, with only two. The buildings will have access from inside the passageway, except for number 12, which has access from the outside. There is even an access from Carrer Josep Anselm Clavé and another from Carrer Sils. Both building volumes are quite dense in terms of buildability, which is why they are perforated by a series of small courtyards that provide ventilation and also light in the secondary rooms that do not have a façade. Similarly, several stairwells articulate the entrances to the floors and connect them with the lobbies. The ground floor is entirely occupied by commercial premises and the lobbies. As far as the façades are concerned, the most characteristic aspect is the strict formal and aesthetic unity of all the façades and the carefully studied geometric relationships that articulate them. The most important façade is the one facing Carrer Josep Anselm Clavé. This is formed by a grid of openings – semicircular portals on the ground floor and balconies on the upper floors. This grid is broken by a double-height arched doorway that leads to the passageway. This architectural element is quite prominent as it has archivolts set on two pilasters of considerable dimensions. This arch is surrounded by an entablature crowned by a cornice with dentils. On the frieze there is a sign with metal letters indicating the name of the passageway in Spanish. The rest of the openings are of simple geometry and have more neoclassical mouldings, stone slab balconies and iron railings. The façade of the north entrance on Carrer Sils also has a doorway and the architectural element that contains it is similar to the previous one, but with the particularity that it occupies the entire height of the building. Pilasters appear on both sides of the central balcony on each of the levels until reaching the cornice where it is transformed into a semicircular pediment with corbels and a central coat of arms. In this façade the openings are balconies only in the central element and the rest are windows. The interior façades are of equal simplicity and compositional rigour. All the openings are balconies and also follow a homogeneous geometric grid formed by the axes of the balconies and small cornices that mark the floor slabs of the building. Special mention should be made of the balconies of the main balcony, which have a lintel with neoclassical plant decorations. The roofs are flat with a roof terrace. The façades are finished off with cornices and sills in neoclassical forms. It is worth mentioning the false ceilings of the flying bodies, which are decorated with polychrome plaster decorations, except for the one at the southern end, which has disappeared, revealing the wooden beams and brick vaults. An architectural element of note is a fixed but raised grille in the area of the soffit of the arch right at the starting line. The materials of the façade are masonry clad in mortar with cut stone framing.

Passatge del Crèdit is located in the Ciutat Vella district of Barcelona and was designed by the architect Magí Rius i Mulet between 1875 and 1879. The passageway opens onto the block defined by Carrer Ferran, Carrer Avinyó, Carrer Baixada de Sant Miquel and Plaça Sant Miquel, crossing it lengthwise and having two entrances facing each other, one from Carrer de la Baixada de Sant Miquel and the other from Carrer Ferran. Access to the passageway is through a large semicircular arch in both streets. It is a monumental entrance, flanked by two large stone pilasters set on a plinth, with shafts decorated with a series of small plaques sculpted with geometric plant motifs and crowned by a large entablature. Above this, there is a stone voussoir arch, flanked on either side by two pilasters and with two medallions with the bust of two allegorical figures (Mercury and America). On the side facing Carrer Ferran, the arch thread is decorated with a metal element, which is anchored to the arch's soffit like a grille, and embedded in it there are the metal letters ‘PASAJE DEL CRÉDITO’. What stands out about this entrance - unlike the one on Baixada de Sant Miquel - is the existence of a level built in the area of the arch, which takes advantage of the light from the arch to create the window that we see today. In relation to this last aspect, it is worth highlighting the type of covering of these sections that link the two streets. Both are covered with a wooden forging with coffers, but with a very different height, structure and finish. Everything seems to indicate that the one on the Baixada de Sant Miquel side is part of the original architectural project, with a coffered ceiling of quadrangular pieces with a fleuron, also made of wood, in the centre, combining quadrangular and rounded shapes with foliage. This ceiling, which still preserves traces of the original polychromy, is in a rather poor state of conservation and is currently protected by a net to prevent it from falling off. As for the ceiling on the Carrer Ferran side, it seems to be part of a later alteration, as it is a simpler coffered ceiling without any decoration and is lower than the one on the other side of the passageway to create an intermediate level that does not exist in the Baixada de Sant Miquel. However, its state of conservation is quite poor, in some points some of the wooden panels have disappeared, leaving the flat brick vaulting of the ceiling slab visible, and there are other areas with little stability and a risk of the whole thing falling apart. 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. These buildings are six storeys high, with a ground floor, a mezzanine and four additional landings. The ground floor is used for commercial space and is characterised by its great height, with high ceilings and large openings framed by iron pilasters that allow for large windows that ensure the entry of light. The decoration with small masks that are still preserved in some points of the cornice that crowns the ground floor stands out. The rest of the floors are dwellings, although part of the complex currently houses part of the Hotel Rialto. The various floors have openings in the passageway framed by white stone pilasters which contrast with the reddish colour of the façade cladding. The treatment and composition of the windows on the two façades where the entrances are located stand out, with a set of decreasing openings towards the upper levels. This variation consists in the fact that on the first floor the window has three large openings with balconies, framed by Ionic pilasters, while on the second floor it only has two. The third floor retains the two openings, but is reduced in height and width, which is actually smaller on the top floor. Another highlight of the complex is the porter's lodge, located in the open area of the passageway and attached to one of its façades. It is built of iron, with a polygonal floor plan, a pointed roof and large windows that allow the entire complex to be observed from the inside. This complex is one of the most representative works of current iron architecture, a material that is visible in the pilasters on the ground floor and combined with the stone of the rest of the building. It is also used in the ornamental elements (capitals, railings, etc.), which Rius combines with stylistic resources of classicist tendencies.

Urban tour of primitive summer houses surrounded by large gardens. Coexistence with houses of popular origin and more recent summerhouses. Connection with a promenade with trees and a bridge over the Funicular and Montserrat. Eclectic, modernist and noucentista architecture. The buildings on this street were built between the 1880s and 1920s.

Bridge with three arches. The central arch is quite large and is supported by two pillars. The whole structure is a combination of exposed brick and stone. The railings, placed years after the inauguration, are made of cast iron. It is built over the block’s stream and serves as a link between the centres of Bruc de Baix and the Parish. The work was promoted by J. Casas i Chocomeli, who was mayor of El Bruc. The project was drawn up in 1916 based on an agreement of the Permanent Council of the Mancomunitat de Catalunya (Commonwealth of Catalonia) of 1915. The works began in 1917, were resumed in 1921 and completed in 1922. It is owned by the Barcelona Provincial Council and crosses the Can Dalmasses stream, serving as a link. At the time of its construction, it was the widest span masonry structure ever built in Catalonia.

Bridge with a slab deck that spans the difference in level of the old Vallcarca stream, now the Avinguda del Hospital Militar, which ran between the Coll and Putxet hills. Since 1923, it has been the main access road to the Coll neighbourhood via Plaça de Mons and Avinguda Argentina, both for road and pedestrian traffic. For the time, it was a fairly advanced engineering work, as the structure was made of concrete reinforced with iron, a technique that made it possible to cement a complex work set in the banks of a stream. The supporting elements are covered with stone and exposed brick, forming semicircular balconies at the top, like a belvedere. In the space between the dividing walls there are relief decorations representing the coat of arms of Catalonia and Sant Jordi flanked by winged lions; above the railing decorated with geometric coffered ceilings there are also pinnacles in the Sezession style.

L'any 1918 s'inaugurà un pont de ferro que havia estat iniciativa del diputat Joan Caballé, i que va ser destruït el 3 d'abril de 1938 per l'exèrcit republicà en la seva retirada. L'any 1939 s'encarregà a l'enginyer Eduardo Serrano Sunyer un projecte per la construcció d'un pont nou, que va ser inaugurat el 7 de setembre de 1943. Situat a llevant del nucli urbà de la població de Móra d'Ebre, damunt del curs del riu Ebre, comunicant l'avinguda de les Comarques Catalanes amb la carretera N-420a, en direcció a Móra la Nova, Tortosa i Reus. Es tracta d'un pont d'arc de tauler intermedi format per cinc arcs de catenària, sostinguts per sis grans pilars de secció ovalada i que al seu torn sostenen els tirants que aguanten el ferm per on circulen els vehicles. Els dos arcs dels extrems són de mida més petita que la resta. Tota la construcció és bastida en formigó armat.

A neighbourhood located on a hill, now integrated with the rest of the town. It was born as a working-class neighbourhood at the beginning of the century, linked to the mining company that until now was its owner. Of a regular typology, it is made up of a transversal street on both sides of which a series of streets open up where the buildings are aligned - the plans for its construction came from Belgium, the place of origin of the owners of the mines. The houses are of different construction types and are also intended for different people: at the top are the rectangular blocks of the miners' families, which are of exposed brick, with two flats per floor. A little further down there are some towers with gardens, also made of exposed brick, for the higher-ranking workers; further down still, other (more sumptuous) towers, also made of exposed brick, are for the executives. Despite the difference in the constructions, the complex has an air of unity achieved with the material. However, the complex differs quite a lot from the rest of the typology and the constructions of the town. The buildings were constructed in the second decade of the 20th century. In 1982 the company put all the houses up for sale, and they have been bought at low prices by their inhabitants. Until now the buildings and the land were owned by the company that ran the potash mines in the village.