The Casa de les Altures was commissioned by the director of the Societat d'Aigües, the Belgian engineer Nicolàs Recúlez Chevalier. The house is named like this because the motors used to lift water in the supply network generated from Dosrius were located next to it. It is a parallelepiped-shaped building with a rectangular base and a central opening that corresponds to a courtyard, with a body attached to the south façade in the form of a porch. The free space that is configured around the courtyard - based on arches supported by slender pillars - allows us to walk along the corridor to which the rooms of the house originally led - the ground floor was the day area, dining rooms, living rooms, library... -. The attic had a lower ceiling and housed the boilers, laundry rooms and various storerooms. The orientalism used in the resolution of the building's formal language was reflected in the profuse decoration on the floors, ceilings, wainscoting and wrought-iron railings.

Edifici Industrial formant part de la trama urbana. Antiga fàbrica tèxtil. Conjunt d'edificis vestits en diferents èpoques. Destaca el cos d'accés entre mitgeres amb façana el carrer Llussà, de planta quadrada amb l'eix de simetria. A un costat hi ha la caixa d'escala. Façanes de totxo vist amb junta seca. Obertures en arc rodó, de totxo col·locat a plec de llibre. Impostes i trencaaigües també de totxo. Remat amb cornisa i baranes. Xemeneia de totxo.

The building - current headquarters of the "Mutua General de Seguros" - was built between 1894-1896 as a representative and office building for the Company of Gas Lebon following a project by the architect Francesc de Paula Villar i Carmona. The plot is part of a unique double block delimited by Carrer d'Aribau, Diputació, Balmes and Gran Via de les Corts Catalanes, mostly occupied by the large building of the University of Barcelona. It is a quadrangular building that sits on a rectangular plot, much of which was originally intended for a garden and is currently used as a car park. One of the most relevant aspects of this building and what makes it one of the most outstanding constructions of the end of the 19th century in Barcelona is precisely the originality of the project. We are referring to the fact that it looks like an exempt building despite being the head of a continuous band of buildings aligned on Carrer de Balmes. The architect achieved this effect by attaching the building to the middle of Carrer de Balmes, but opening its main façade towards the garden which was accessed from the Gran Via. The building consists of five levels of height clearly differentiated into three bodies. The lower one, almost like a base, has a very different material treatment from the rest of the façade. Made with stone blocks arranged in regular rows, it has two levels, a lower one where the current entrance to the Mutua is located (on Carrer de Balmes). Above this lower level there is a second floor, which opens to a series of low arches that give it the appearance of a gallery or very diaphanous body. However, this second level gains prominence in the area of the old garden where the main entrance was located. On this front, a monumental staircase with a stone railing gives access to the interior of the building through the second level. This entrance is also protected from atmospheric agents such as sun or rain through the overhang of the balcony that develops on the main floor. Regarding the rest of the façade, the homogeneity of elements and composition on the three fronts should be highlighted. In this sense, on top of the stone base, where the openings of the two interior levels are framed, the body of the façade is properly developed. Separated from the lower one by a running cornice, this becomes more prominent in the corners, where the towers develop, becoming an overhang that forms the base of the tribunes on the main floor. These tribunes are configured as a rectangular element resting on sculpted corbels, with a stone railing and Ionic columns that support an entablature that is the base of the balcony developed on the second floor. The windows on the main floor are framed by Ionic pilasters that incorporate several diamond-pointed ashlars into the shaft and that become the only ornamental element apart from the smooth entablature that crowns them. On the second floor, on the other hand, the windows – although they keep the same type of pilaster – are configured as a spandrel balcony and are finished with semicircular pediments that contrast with the mouldings on the top floor. The building is finished with a powerful cornice to which circular openings open in the form of portholes sculpted with floral decoration and which coincide with the vertical axis on which the windows are arranged. Above the cornice there is a last floor with mansards and a roof on a slope which is the result of a later work. As for the corner towers, as already mentioned, they present one more level than the rest of the façade, in which a kind of open gallery develops through a triple opening with arch and central pillar. The towers are covered with a false mansard roof that is topped with a flat roof with an iron railing. Unlike the base level made of stone, in the rest of the façade the predominant material is brick, arranged in horizontal strips and which contrasts with the whiteness of the artificial stone of the mullions and lintels of the windows. The building was designed by the architect Francesc de Paula Villar i Carmona in 1894 on behalf of the company Gas Lebón – one of the pioneers in the state in the production and marketing of gas for public and private lighting of the city. The original project did not foresee the mansards, which are an added element that considerably modified the perception of the façade, as it visually narrows the angular turrets and reduces the verticality of the whole in general.

Located in Barcelona's port area, the Nova Aduana is located in the expansion area of the new loading and unloading docks and replaces the old customs house, which was housed in an 18th-century building near the Port Vell. The new construction sought to monumentalise the maritime entrance to the city and, at the same time, to rationalise the control and valuation of goods. In this project, Sagnier counted with the collaboration of the architect Pere Garcia Fària, a specialist in the drainage of the city and an engineer in roads, canals and ports. The commission was formulated in 1890, but the project was not approved until 1895, after suffering many obstacles and alterations, as it was a public building controlled by the State and its layout had to be approved by the Royal Academy of Fine Arts of San Fernando. The building adopts an H-shaped layout, as the initial idea of the customs technicians was that goods would enter at one end, pass through the inspection room and exit at the other end, but in practice its use could not be so rational, due to the bureaucratic formalities. On the outside, the building has a monumental appearance, with certain echoes of Central European architecture, especially on the façade facing the city, while on the quayside the architectural lines are more sober. As in other projects, Sagnier avoids the monotony of the main façade by combining horizontal lines in the attic and vertical lines in the windows on the main floor, with the counterpoints of the two lateral bodies and, especially, the central core containing the entrance. This central body, where the inscription ‘Aduana’ appears in severe capital letters, concentrates most of the sculptural work and is crowned by a coat of arms of Spain and two large eagles, the work of the sculptor Eusebi Arnau, while at each end there are four griffins or winged lions. The chronicles of the time criticised the excessive proportions of these decorative elements ‘belonging to the fauna’ and the fact that the building did not clearly express its purpose.

In 1906, August Font i Carreras was commissioned to design the Gracia branch of the Caixa d’Estalvis i Mont de Pietat de Barcelona. August Font himself had already designed the Caixa de Barcelona building in Plaça Sant Jaume and a branch office in Carrer de Sant Pau. The building is located on the block bounded by Carrer Jesús, Carrer Sant Pere Màrtir, Carrer de Gràcia and Gran de Gràcia, where the façade opens onto the street. The building is inscribed in a regular polygonal plot and is developed on three levels of elevation: ground floor and two floors, topped by a rooftop. Today, only the façade remains of the original architectural project, which consists of a three-storey rectangular façade and a five-storey tower attached to the far left-hand side of the building. Built entirely of stone, it is notable for the presence of elements from the Catalan medieval building tradition, such as the mullioned windows on the first floor and the rooftop on the top floor. Even so, these elements are not faithful to the traditional forms, but were reinterpreted by the architect, giving the complex a Gothic appearance. The tower, which has a hip roof, has a door on the ground floor leading to the staircase. It is a door with a mixtilinear lintel and sculpted mullions, with two female figures accompanied by vegetal elements on the imposts. Crowned by the coat of arms of Barcelona, the ground floor is separated from the next floor by a moulded impost, where there is a niche in the form of a window with an image of the Virgin Mary. The first floor opens onto the street through a window with a mixtilinear lintel and, finally, the clock face above it. The tower is closed with a large cornice on corbels on which the top floor of the building is built – a series of windows between columns form a continuous gallery that surrounds the tower on all four sides. On the ground floor there is the entrance to the current offices of La Caixa, with a central doorway flanked by two pairs of windows with large arches on columns resting on a high plinth. This ground floor is separated from the first floor by a sculpted cornice on which we can read: ‘Caja de Ahorros y Montepío de Barcelona. Sucursal de Gracia' (Barcelona Savings Bank and Montepío de Barcelona. Gracia Branch Office). On the first floor there are three crown windows inspired by the Middle Ages, but reinterpreted both in the shape of the lintel and the plant decoration. Finally, on the second and last floor, there is a gallery that recovers the medieval and Renaissance style with mixtilinear arches on columns. Above this level we can find the eaves and the roof railing. The latter, with moulded elements in the form of battlements, is decorated with ceramic and iron elements.

Two-storey house from 1920 with a detached ground floor and a separate gate at the entrance. It has a very large garden which continues on the other side of the stream, with a large entrance gate. Inside the garden there are small temples, fountains and other architectural elements. The building has influences from different styles, as the author was a man who traveled a lot. The influence of the Vienna Secession stands out.

Building between ground floor partitions and two floors with two façades, the main one on 20 Rambla de Nostra Senyora and the rear one on 33 La Palma Street. On Rambla de Nostra Senyora the façade has an asymmetrical composition, with a ground floor entirely transformed by the current commercial use, a main floor with a large tribune with three openings and a balcony located to its right, and an upper floor with a central low-arched window, two side windows and a balcony spanning the window centre and the right window. The top of the façade is formed by a stepped crowning with floral ornamentation with retouches and sgraffito. On La Palma Street, the façade presents a symmetrical composition of the upper floors, while the ground floor has the access portal shifted to the right. On the main floor there is a balcony with a wrought iron railing that takes up the entire width of the façade, with two arched openings crowned by circular pediments. On the upper floor there are two recessed openings with a sill that protrudes from the façade. The facing of the façade is smooth and is crowned with a cornice supported by corbels. The house was designed by the architect Antoni Pons i Domínguez.