The project seeks to restore the typological and morphological values of this Renaissance Palace, locating the broadcasting and public attention services of the archive. The action determines a remodeling of the area of some old houses where the core of vertical communications and public services are placed, and with the general control on the ground floor of this core. The exhibition space is in the corridors on the ground floor, which has independent public access from the rest of the archive. The meeting room is on the main floor, with a foyer that takes advantage of the existing carpeted room and representative offices. On the second floor, the crevices are left clean, open to various didactic and administrative uses, and an ambulatory is enabled above the patio loggia to ensure circulation. The internal services are in the third tier. The action tends to value the building as a public facility, underlining the function of the courtyard as an open space in the city, with double access from Rei Square and Comtes Street.

Vila de Gelida House is located at the end of the block that forms a chamfer with Barceloneta and Colom Streets. It is a public building consisting of a basement, ground floor and two floors, covered by an Arabic tile roof. The building has undergone several refurbishments. It is a brilliant example of the eclectic style. The chronology of the Vila de Gelida House began in 1879, the year the foundation stone was laid, and the author of the initial project was the architect Laureà Arroyo i Velasco. Only a part of this project was carried out. In 1924, the interior was redistributed, making it suitable for housing, under the project of the architect Josep Ros i Ros.

Isolated building that takes up an entire end of the block. It is located between General Cortijo, Parlament and Ateneu Streets. It has façades on General Cortijo and Parlament Streets, as well as a large garden at the back. The house consists of a ground floor and two floors, with a roof and terrace. There is a rear porch with bay windows opening onto the garden. The unit responds to the language of eclecticism. The house is located on the large 19th century plot that was later linked to Poble Nou. This is the old Post Office building.

In 1887, the Barcelona City Council called a tender to renovate the Casa de la Ciutat as a residence for the royal family during the Universal Exhibition of 1888. Domènech i Montaner carried it out. The Casa de la Ciutat building, of medieval origin, had arrived at the beginning of the 19th century in a deplorable state of repair. Various restoration and extension works carried out around 1820 had improved it somewhat. But the royal family had to be housed. At first the competition was declared void, and Mayor Rius i Taulet entrusted the project to Antoni Gaudí. He even presented some plans, but the Government Commission urgently commissioned Domènech i Montaner to design the project, and his went ahead. His proposal was not carried out in its entirety, and in many cases it was simplified to speed up construction, which took little more than two months. Domènech's contributions were of a constructive and distributive nature, and the restoration and reinterpretation of the interior decoration. A new monumental staircase was built to dignify access to the first floor and the space between the courtyard and the Saló de Cent was redistributed. The mayor's office and other municipal offices were relocated to accommodate the royal family. Domènech also recovered the old Gothic access gallery to the hall by demolishing all the partitions that covered the arcades and recovering the geometry of the buttresses, which had been heavily modified and had caused serious structural damage. The medieval polychromy of the coffered ceiling was recovered, windows were uncovered and new stained glass windows were installed, cabinetwork, upholstery and flooring work were carried out and skylights were created to provide natural lighting and electric lamps. Once the royal visit was over, Domènech asked for the decorative works and structural reinforcement to be completed, but they were not carried out. The modifications that were made to these spaces over the years made a large part of Domènech's work disappear.

The Amàlia Soler house is a house between partitions forming a corner, originally intended for housing and adapted to commercial, public and social uses. The building has a quadrangular plan and consists of a ground floor, mezzanine, first floor and attic under a roof on three sides. The property consists of four crugies parallel to Carrer de la Cort and one to Carrer de Santa Maria. The staircase has four central sections and the loft is attached to the stairwell. There are also some secondary stairs that give access to the mezzanine floor from the ground floor. There is a secondary body with a roof accessible from the main floor. The load-bearing walls are made of stone, common masonry and billet. The floors are made of wooden beams and tile surround. The roof is made of Arabic tiles with a wooden structure and tiles. The scale is back to the Catalan one. The facades are symmetrical and are composed according to 5 vertical axes. The ground floor has portals with lintels, some transformed into windows. The main door is on Carrer Santa Maria. On the mezzanine level there are balconies. On the main floor there is a corner balcony of 2 openings and simple balconies on the rest. In the attic there are twin windows with lintels. The facing of the facade has horizontal bands up to below the main balconies, and a simulated corner. The crowning of the building is a cornice and railing with latticework. The property is located within the historical and monumental center of Vilafranca. Over time it has lost its initial function. It later housed shops and various services (Town Hall offices, school, Municipal Water Service, Vilafranquesa de Gas, S.A., etc.). It houses the headquarters of the Amàlia Soler Foundation.

The building was constructed in the second half of the 19th century, in different phases of construction, and followed a neoclassicist style. Around 1905-1906, Francesc Berenguer i Mestres – a regular collaborator of Miquel Pascual and the town's municipal architect – made an initial modification to the building, increasing its height and giving it a new façade to replace the old, neo-classicist façade. Francesc Berenguer i Mestres began his architectural studies but never finished them, which is why his projects had to be signed by other architects. He worked with Antoni Gaudí, of whom he was a friend. Berenguer i Mestres drew from the mixture of the modernist trends of the time and created his own style, the result of his meticulous attention to detail. The Gràcia City Hall building is part of the architectural conception with a façade of flat, symmetrical composition and a simple volumetric approach. It recovers materials from popular Catalan architecture such as brick, wrought iron and stone, but also uses masonry combined with brick or stone to define the corners. The sophistication of the wrought-iron designs with axial bends, lacerations and serpentine forms are masterly, as can be seen in some of the decorative elements of the ensemble, such as the coat of arms on the façade. Originally, the continuous balcony on the main floor had a stone railing that was replaced by the iron railing that is still preserved today. According to the plaque above one of the doors, the hall on the first floor, now the assembly hall, was built in 1882. Another plaque recalls its past, specifically in 1967 when it was called ‘Sala Nuestra Señora de Gracia’.