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The Roman Teatre de Tàrraco, in the lower part of the city near the forum and the port area, is one of the city’s earliest buildings designed for public entertainment and a prominent example of cultural life during the Roman period.

It was built in the early 1st century BC, during the reign of Emperor Augustus, and was erected on a strategic site, making use of the natural slope of the land to support the tiered seating. Seating approximately 6,000 spectators, the theatre hosted performances and public events in one of the busiest areas of Tàrraco.

Key parts of the structure remain, including the cavea or auditorium, with the first few rows still intact; the orchestra, the semi-circular area reserved for dignitaries; and the scaena, where the performances took place. Other elements of the original structure can also be identified, such as some of the staircases which divided the space.

The theatre continued to operate until the end of the 2nd century AD, at which point it fell into disuse as a performance venue and served other purposes. Although it remained hidden until the late 19th century and suffered considerable damage, the Roman theatre of Tàrraco is an essential element in understanding one of the city’s most vibrant areas: the port and its harbour district.

Along the path leading from the Monastery of Montserrat to the Santa Cova, visitors will find a series of religious sculptures that make up the Rosari Monumental de Montserrat. It features fifteen scenes dedicated to the mysteries of the Virgin Mary, which were commissioned from renowned artists, and is one of the most significant open-air Modernist complexes of its time. Antoni Gaudí contributed to it with the group dedicated to the Primer Misteri de Glòria.

The architect blended his work into the landscape, treating it as a space that forms part of the mountain. He did this by enlarging a small natural cavity where he placed the figures. The path was also extended to include a small clearing and a stone bench that follows the contours of the land, inviting visitors to contemplate the whole scene.

The scene depicts the Resurrection of Jesus. At the bottom, an angel and the three Marys, sculptures by Josep Llimona, gaze upon the empty tomb. At the top stands the figure of Christ, the only one cast in bronze, flanked by a mosaic coat of arms of Catalonia.

Work on the Rosari Monumental began in 1896 and continued for more than two decades. Despite Gaudí’s initial enthusiasm, he grew increasingly detached from the project, and the work was eventually completed thanks to the efforts of his collaborators. The site was inaugurated in 1916 under the direction of Jeroni Martorell.

Nau Gaudí in Mataró, is one of Antoni Gaudí's earliest projects. It was built in 1883 and formed part of the Cooperativa Obrera Mataronense project, spearheaded by the industrialist and one of the leaders of the late 19th-century cooperative movement, Salvador Pagès, who was sympathetic to the ideas of utopian socialism.

The plan was to build a large complex comprising factories, housing and social facilities. However, only a few parts of this project were ever built, including the cotton bleaching warehouse, which is the only major building that has survived.

It is a large, open-plan space of almost 600 square metres, supported by thirteen wooden parabolic arches that hold up the roof without the need for columns. Innovative for its time, this solution showcases Gaudí's engineering ingenuity and his ability to create functional spaces with great architectural power.

Contrary to his best-known works, Gaudí opted for austere architecture that placed materials and structural elements at the forefront. Just a few metres from the warehouse, visitors can also see the outhouses, which are the oldest structure on the site. In this modest building, Gaudí was already experimenting with ventilation solutions and decorative details, which he would later use in his architectural designs.

Nowadays, Nau Gaudí is a museum dedicated to exploring the early career of one of the world’s most renowned architects and showcasing works by contemporary artists, courtesy of the Mataró Contemporary Art Consortium Museum and the Lluís Bassat Collection.

Towering over the bay of Sant Feliu at the tip of the Gixols headland, Caseta del Salvament Marítim offers a unique insight into the history of coastguard protection and rescue operations along the Catalan coast.

The building was completed in 1890 and was strategically located to control the natural harbours of Abric and Calassanç, at a time when they were particularly vulnerable. Besides sheltering shipwrecked sailors and the volunteers who carried out search and rescue duties, the station was used to store rescue equipment, such as the lifeboat, the launching platform and the line-thrower, along with a wide variety of essential tools and materials for operations.

The cabin and its contents represent an exceptional heritage site due to the preserved materials and the fact that it remains in its original location. Original items from the late 19th century are preserved inside, such as the lifeboat, as well as instruments, documentation and other items related to maritime activities.

Nowadays, it serves as one of the branches of the Sant Feliu de Guíxols History Museum. Visitors can learn about how rescue operations were organised and how sailors’ lives were protected in an often unpredictable maritime environment.

Porta de la Finca Miralles is one of Antoni Gaudí’s lesser-known works in Barcelona. It was built in 1901 on Passeig de Manuel Girona and formed part of the perimeter wall of industrialist Hermenegild Miralles’ estate, a property that no longer exists.

Only the entrance gate and a section of the wall remain from the original complex. The entrance gate is built of stone and finished with white trencadís and a wrought-iron railing that imitates reptile skin. The gateway features a large leaf-shaped arch surrounded by undulating shapes that appear to flow as if they were organic. The entrance is adorned with a distinctive three-dimensional wrought-iron cross. To one side, a smaller gate with its original railing has also been preserved.

Today, the gateway leads onto the quiet Carrer Francesc Carbonell street and has become a fully integrated part of the neighbourhood’s urban landscape. The site was restored in 2000 and also features a sculpture of Antoni Gaudí, by Joaquim Camps, which commemorates the architect’s legacy here.