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Between the municipalities of Xerta and Tivenys, at one of the most spectacular places on the lower section of the River Ebro, is a major work of hydraulic engineering that transformed the economic activity of the area and has left a monumental testimony to an industrial heritage. This is a dam with a lock (a retaining wall that diverted the water) of about 310 metres long, built diagonally across the river.

It seems that the origin of a lock at this point can be traced to the Islamic period and that it must have been restored in the 12th century, after the conquest of Tortosa. Even so, it was not completed until 1411, under the direction of Mussà Alamí. It was in the 19th century when it was refurbished and the lock that diverted the water into the left and right channels of the Ebro which, as it still does today, served to irrigate the Delta and the gardens within the valley. Despite these works, the lock allows the boats that sail on the River Ebro to pass.

In addition to the dam with the lock, the heritage complex consists of several annexed buildings: the breakwaters, the old flour factory – of which only the walls remain standing - and the mill. This preserves a stone carved with the date of its construction, 1575, and items (the mill race and run-off channels and the toothed wheels) have been kept that belong to this time period. It has been refurbished many times until the end of the 19th century when it was used as an electrical generation plant. Even so, it is considered one of the few industrial buildings from the Renaissance period in Catalonia.

In the late Middle Ages, one of the most important baronial families of the Girona region settled on one of the hills of the Serra de Finestres, within what is now the La Garrotxa Volcanic Zone Natural Park. Little by little, the population started to grow around it and it became the village of Santa Pau. Today, the village still retains the essence of what was a centre of economic and commercial power.

The appearance of the old city, built mostly in the first half of the 14th century, is typically medieval, surrounded by walls and with narrow and irregular streets. The focal point of the town is the Plaça Major or Firal dels Bous, a triangular arcaded square where the markets and fairs took place. And, since 1297, the town has had the privilege of a protected area for holding markets. In front there is the Castle, which was built on the highest point of the village. Construction started in the 13th century, although it was later given the current appearance of a large stately home.

The square is dominated by the Gothic Church of Santa Maria. This is the current parish church, after the Romanesque Church of Santa Maria dels Arcs, on the outskirts, was badly damaged by the earthquakes in 1427 and 1428.

The rest of the medieval town is structured around Carrer del Pont and Carrer Major. It is from Portal del Mar (Gateway of the Sea) that the best views of the surrounding valleys are to be had and, on a clear day, one can even see the Gulf of Roses.

Little has changed in the urban morphology of Peratallada since medieval times. And not only has it not expanded beyond the city walls, but it has managed to preserve its architectural and urban origins as can be appreciated when walking through its narrow and winding streets. Not for nothing is it one of the most important town centres of Catalonia in terms of medieval architecture.

The fortified town is concentrated on top of a huge natural sandstone rock, artificially carved to give height (hence the name “pedra tallada” or "carved stone"). At the top, we find the Castle (11th century, but with signs that there might have been an earlier structure), with its Keep Tower and Palace.

A wall that formed the first enclosed area extends around the Castle, which was surrounded by two further walls. Of this defensive system, some of the walls, the valleys dug into the rock, towers such as the Torre de les Hores (Clocktower) and the Portal de la Verge (Gateway of the Virgin) still survive. The town was therefore divided into three sections between the walls, which accentuate the network of passageways and alleys.

About 200 metres to the north, outside the walls, is the parish church of Sant Esteve, dating from the late Romanesque period.

The name Pals (derived from the Latin palus, "marshy terrain") perfectly describes the geographic framework of marshes and swamps that existed on this stretch of coast. Therefore, it is not without reason that the town originated at the top of a hill, above the plain. Today, the historic centre of Pals, known as the Pedró Quarter, allows one to make a tour of the medieval past of the village.

Projecting above the roofs of the old town is the Torre de les Hores (Clock Tower), the only remaining evidence of the old castle of Pals. It was the Keep Tower, circular and in the Romanesque style, built on a podium of natural rock. Its name comes from the small Gothic bell tower of three pilasters that was added in the 15th century.

The Church of Sant Pere is a building with a single nave, built in the Gothic style, with some later additions such as the Baroque portal. This replaces an earlier Romanesque building (12th century) of which the remains of the western façade have been preserved, incorporated into the current front façade. In building the nave, they probably made use of the stone from the Castle, which was in ruins.

The walls of Pals are one of the best preserved in the Empordà region. The course of the wall remains virtually intact, and only a few sections have been transformed or destroyed, particularly on the eastern and southern sides, which is where the town has been extended. The interior of the old town is a complex of narrow and steep streets, which are centred around the Carrer Major, which has covered sections. What gives unity to the whole complex is the yellowish colour of the walls which derives from the sandstone with which they are built.

Manresa is inevitably associated with the stunning image of the Collegiate Basilica of Santa Maria at the top of the Puigcardener hill. Popularly known as La Seu, it is considered one of the main Catalan Gothic buildings.

Its elevated location was, successively, the site of an Iberian settlement, a Roman fortress and a Romanesque church. The construction of the current building began in 1322 under the direction of the same architect as that of Santa Maria del Mar, Berenguer de Montagut, and was completed at the end of the 15th century with the Gothic as the predominant style. However, after later alterations, we also find Baroque Renaissance elements or even neo-Gothic, as in the façade of the Baptistery.

The most notable elements of La Seu are the impressive rose window of the western façade, the bell tower and the crypt with a large marble tabernacle and eight Baroque medallions. Laterally, it has two protruding towers: one, the Chapel of the Holy Sacrament; and the other the Baptistery, with an octagonal plan.

Inside, its pictorial collection stands out, notable among which is the altarpiece of the Holy Spirit by Pere Serra, one of the most important works of Catalan painting of the 14th century.

Over the main façade of the building is the Historical Museum of La Seu, opened in 1934, which exhibits a large display of works of sacred art.

Al segle X, una xarxa de torres de guaita va delimitar el comtat d’Osona, que després va estendre els seus dominis a Anoia i Segarra. De tots ells, la torre Manresana de Prats de Rei és la que ha resistit millor el pas del temps. Tant és així que també va ser una de les escenes de la Guerra de Successió espanyola.

Al seu voltant hi havia un castell medieval de frontera , del qual només resten els fonaments de les muralles i una sala. La Torre, reconstruïda al segle XII, és l’únic element del complex en bon estat que s’ha conservat.

I està molt ben reforçat. Construïda amb pedres de carreus, la torre Manresana està dividida en tres nivells i amb un gruix minvant de paret, que va des dels 215 cm a la base fins als 160 cm a la part superior. Una de les claus de la seva seguretat va ser que només es podia entrar per una porta situada a mig camí de la torre, a la qual s’accedia a través d’una escala elevada.

La terrassa, situada a 21 metres d'alçada , ofereix una àmplia panoràmica del comtat de l'Anoia. Per aquest motiu, el 1711 va ser l’escenari d’enfrontaments entre el bàndol austríac i els Borbons per controlar la zona de Calaf.

This ancient Andalusian military encampment was the original centre of Balaguer and is an extraordinary archaeological site that allows us to learn about the Islamic past of the town.

Its origin dates back to the mid-8th century, during the occupation of the Iberian Peninsula by the Arabs and Berbers who had arrived in 711 AD. They built a military camp here which would be used as a "base of operations" for the expeditions of conquest that left along the Segre River towards Europe.

Over time, its military use gradually changed to civilian use until it became a town (medina), which experienced the height of its splendour in the 11th century thanks to the agricultural and livestock resources. Researchers have discovered the remains of the buildings characteristic of the Islamic cities of this era: Mosque, aljama or Jewish quarter, the stately castle (suda), residential area, squares, the potters’ district, etc. With the subsequent Christian conquest (1105 AD) and the expulsion of the Muslim population, Pla d’Almatà returned to the military and agricultural uses, being converted into fields of vineyards and olive groves.

Since 1983, excavations have been carried out which have uncovered the urban network of the old medina. Currently, in the area you can visit the Archaeological Park, where they have excavated and created a museum of four houses and a part of the street, and you can see the remains of the old wall from the 8th century and several storage silos.

Famous mainly for its impressive Romanesque cloister, the Monestir de Sant Cugat (Monastery of Sant Cugat), run by the Benedictine order, contains pre-Romanesque, Gothic and Renaissance elements.

Constructed between the 9th and 14th centuries, the church features the classic basilica plan of three naves and three apses, which are based on the remains of a Roman castrum. The temple is characterised by the sobriety of the Romanesque period in the lack of decoration and low light, and the Gothic grandeur thanks to the thirteenth century dome: an eight-sided tower with large windows.

The prosperity of the twelfth century led to the construction of the first floor of the cloister, consisting of long galleries with arches that rest on pillars and several pairs of columns. However, the most eye-catching feature for visitors must be the 144 Romanesque capitals.

Made with stones from Montjuïc, they were carved between the late twelfth and thirteenth centuries and feature something completely unusual: the author's signature. As such, we know that the sculptor, Arnau Cadell, made a self-portrait on a Corinthian capital and wrote in Latin: "This is the image of Arnau Cadell, sculptor, who built this cloister for posterity".

To pass through the gates of the Palau Moja is to discover how the high bourgeoisie lived in the 18th and 19th centuries in Barcelona. The house was the property of two of the most important men of the city, which became a meeting point for the high society of the age.

Josep de Copons, Marquis de Moja, and his wife, Maria Luisa Descatllar, commissioned its construction from the architect Josep Mas. In 1784 he opened the building, which combines Baroque elements with influences of French Neoclassicism. Notable from this first stage, is the Grand Salon, with paintings by Francesc Pla, known as "El Vigatà", and the façades. Interestingly the main door is located in Carrer Portaferrissa. At this time the Ramblas was still a watercourse that had just began to be developed.

In 1870, the Marquis of Comillas, father-in-law of Eusebi Güell, bought the Palace and adapted it to the taste of the period. One of the most visible renovations was the Staircase of Honour. Also dating from then are the blue, pink and green salons. Jacint Verdaguer lived there for 15 years as a family chaplain and almoner.

After the fire of 1971, the Palace was abandoned for eleven years. It is currently the headquarters of the Cultural Heritage Department of the Catalan Government’s Ministry of Culture.

The Torre Glòries (The Glòries Tower), a modern office building located at the entrance of the 22@ (the technological district of Barcelona), has altered the city’s skyline since 2005. It is the work of French architect Jean Nouvel, who is inspired by the images of a geyser, the architecture of Gaudí and the mountain of Montserrat. A contemporary lighthouse that attracts the interest of locals and tourists in equal measure.

Rising from two elliptical, concrete cylinders, one inside the other, the Torre Agbar measures 142 metres high and is covered by two "skins". The innermost is an aluminium plate painted with earth tones, blues, greens and greys. The outermost is a transparent and translucent wall made up of nearly 60,000 sheets of glass. Thanks to this double façade an air chamber is created that allows the heating of the building to be delivered and provide ventilation. The glass used are pieces of a brie-soleil, a system that controls the sun's rays depending on the outside temperature.

These characteristics make the Torre Agbar an original, intelligent and sustainable building, the three principles on which Nouvel’s project is based. It is especially notable on weekend nights, when 4,500 points of LED light (the most efficient and least polluting system) illuminate the façade with colour.