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Castelldefels Castle is perched on a hill at 59 metres above sea level. This monumental ensemble, which lends its name to the town, was built in the 10th century over what had been an Iberian settlement and, later, a Roman villa.

The castle was strategically constructed overlooking the Mediterranean Sea, overlooking a commanding position to control the territory and the coastal strip.

It was used for centuries as a fortress to defend the Eramprunyà barony, and was restored and fortified in the 16th century against attacks by Berber privateers.

Piracy began to fade away in the 18th century, and the castle fell into the hands of several noble families. One name that is closely associated with the fortification is the banker Manuel Girona, who bought and spearheaded the restoration of this iconic city landmark in 1897.

During the 20th century, it was used as a military training centre by the Republican authorities during the Civil War in 1937 and early 1938. Shortly afterwards, the castle and church were converted into a prison for international brigade members in March of the same year. Visitors can see original graffiti by these brigadiers in Santa Maria church in Castelldefels. This 10th-century church is the part of the ensemble that retains the oldest remains, with walls dating from the Iberian, Roman, medieval, modern and contemporary periods.

Both the castle and the church have been declared a Cultural Asset of National Interest.

Another impressive feature is the Fencing Room, which is decorated with 18th century paintings, and the Institutional Room, or the Noble Room, which bore witness to the grand feasts and celebrations attended by the Catalan bourgeoisie at the beginning of the 20th century, and which retains its neo-Gothic décor.

The origins of the Benedictine monastery of Sant Pere de Casserres stand half way between history and legend. The latter explains that one of the sons of the viscounts of Osona and Cardona spoke only three days after being born to announce that he wouldn't live for more than 30 days. Once dead, they had to put his body on a mule that would walk without being guided. At the spot where the mule would stop, a monastery was to be constructed.

The version that speaks about the monastery's strategic position seems more likely, with the monastery situated in a very pronounced bend of the Ter river. Previously, it was the site of a castrum serrae or defence tower. It was a building that the viscounts would decide to convert into a monastery.

Ermetruit, viscountess of Osona, was the monastery's promoter, the only one from the Benedictine order in Osona. Construction began in 1005 and, seven years later, monastic life began; the church was consecrated in 1050.
With the exception of short favourable periods (when the abbey had the support of the local nobility like the lords of Savassona, Tavertet and Sau), the monastery was marked by misfortune. Only ten years after the consecration of the church, the abbey fell to the category of priory because it had less than 12 monks and in 1079 Sant Pere de Casserres came to be a "branch" in Catalan lands of the powerful abbey of Cluny.

Between the 13^th and the 15^th century, Sant Pere de Casserres entered into decline from famines, wars and epidemics, such as the Black Plague of 1348. In the 19th century, the monastery passed into private hands and was used as a farm and tenant housing. The current group is the result of a series of restorations, like those done by Camil Pallàs (1952-1962) and Joan Albert Adell and the County Council of Osona (1994-1998).

The temple is a compendium of the Romanesque: three naves separated by pillars and crowned by semi-circular apses. The decorative architectural elements also rigorously follow the "style" of time, with blind arches, toothed friezes and a small cloister with semi-circular arches supported on columns. The church's interior was completely decorated with mural paintings, although nowadays only a few very deteriorated examples remain.

Two elements, escape the canon: on one hand, the church measures longer in width than length, an uncommon fact in the Catalan Romanesque style. On the other hand, the bell tower is -unusually low- is no more than two floors in height. Two curiosities of the monastery's exterior must be highlighted: the rectangular shaped building that serves as hospital and the area where numerous anthropomorphic tombs are conserved.




Author of the photographs: Josep Giribet.

Joan Miró (1893-1983) is considered to be one of the most influential artists of the 20th century. His unique and original style, marked by simple shapes, primary colours and experimentation with new materials, has turned him into a benchmark for many creators.

When he was just 14 years old, he started to study commerce as per the instructions of his father, who at the same time accepted having him enrolled in night classes in drawing at the La Llotja in Barcelona “as a pastime”. It was in 1911, during his stay at Mont-Roig del Camp recovering from an illness, when he firmly decided to become a painter. Neither his international fame, nor his stays in Paris, New York or Japan would alienate him ever from the countryside of the Baix Camp, the key to his artistic calling and a source of inspiration, nor from his Catalan roots.

After his first artistic stage with fauvist, expressionist and cubist influences (Retrat de nena, 1919; La masia, 1920), his stay in Paris would bring him into contact with surrealism and dadaism, and his painting would evolve and be realised from conventionalism and academicism. In his particular surrealist vision, Miró was inspired by the irrational and transformed objects and people into symbols and shapes that mixed the geometric with the organic. El carnaval d’Arlequí (1924) and El gos bordant a la lluna (1926) are very significant works.

The start of international recognition of his work, with the purchase of parts for part of the MoMA in New York in 1928, coincided with his most rebellious stage, marked by his desire to “kill” the classic idea of painting. For this entire life, he would experiment with new techniques and expressions such as collages, engravings, ceramics, tapestry, sculpture, scenography, swinging constantly between figuration and abstraction. Starting in the 60’s, we would invent a new language, where his characteristic mythology (woman, bird, star, moon and sun) would take on a very explicit meaning (L'or de l'atzur, 1967).

He fled from the public eye, often taking refuge in his study in Palma. This did not prevent Miró from expressing his rage and sensitivity for big events in his time (the Spanish Civil War and the Second World War) through his work: Natura morta del sabatot (1937) or his series Constel·lacions (1939-1941). And even his years of international recognition, with retrospectives in the most prestigious museums, did not hinder his fighting spirit. Examples include the fabrics that he burned and put holes into in 1973 in protest against the repression of Franco.

One of the best collections of the artist’s work can be found in the Fundació Joan Miró in Barcelona, which opened its doors in 1975. There are also important collections of his in the Fundació Pilar i Joan Miró in Palma de Mallorca, at the Centre Georges Pompidou in Paris, in the MoMA and Guggenheim Museum in New York, the Tate Modern Museum in London and the Moderna Museet Museum in Stockholm, among others.
 

The Royal Shipyard building, where many of the boats that would set sail during the Medieval and Modern period, are now gathered in the Maritime Museum of Barcelona (MMB). Therefore, there is no better place to explore and learn about the maritime culture and history of Catalonia.

The large gothic naves House the boats of the permanent collection of the museum, such as the Royal Galley, the boat República or the catboat Jean et Marie, going through shipbuilding between the 13th and 18th centuries.  Other pieces of note in the collection are the multiple figureheads that the museum holds and marine instruments such as octants and sextants, mechanical sonar devices, compasses and nautical astrolabes, among others.

The restored Royal Shipyards of Barcelona opened their doors on 16 February 2013, once the restoration was finished for this extraordinary heritage site. The renovation also includes the Museum, which now displays elements that facilitate interactive dialogue, life experience and cross-disciplinary knowledge of maritime culture and history using multiple disciplines.

How does a Barça player feel when he is about to go out onto the field? Lovers of football can experience that here in the flesh at this museum. Currently it is one of the most visited museums in Catalonia, with an annual average of more than 1,200,000 people.

The idea to make a Barça Museum was by Joan Gamper, the founder of the club. It was finally inaugurated in the year 1984. Since then, visitors have been able to see the trophies won by all the sporting sections of the Catalan club throughout its history and all kinds of objects related to the team, the players and the followers.

It also has a sport art collection, with works by Salvador Dalí, Joan Miró, Antoni Tàpies and Josep Maria Subirachs. Additionally, it holds the Futbolart Collection, owned by Pablo Ornaque, considered to be one of the best private collections in the world concerning football.

Starting in the year 2010, the Camp Nou Experience project began, a tour that places the visitor in a leading role using immersive technologies (video walls, touchscreens, audio, recreations, etc.). Apart from the museum, you visit the Stadium, the Messi Area and the Multimedia Area. During your visit, you can go through the locker room tunnel and transport yourself to a big final or photograph a replica of the European Cup in the press room.

Located in the heart of La Rambla, the Mercat de Sant Josep, known as La Boqueria, is one of the most popular areas in the old town of Barcelona. It even receives more visitors each day than the Sagrada Família. The current building dates from 1836, but its commercial function dates back to the 12th century.

On the area of the Pla de la Boqueria, an open-air street market was established where the farmers and traders from the surrounding villages would come together to sell their products. This was set up outside the city walls, in front of the Portal de la Boqueria (the Boqueria Gate), to save themselves the tax on bringing goods into the city.

The space where the market is held today is on the site of the former Convent of Sant Josep, founded by the Discalced Carmelites in 1586. It was demolished in 1835 and in its place was planned the construction of a monumental square that would have been the largest in Europe, of which the neoclassical portico is preserved. It was decided to move the market inside on a temporary basis, but eventually it was moved there permanently. It was expanded into the surrounding area, including the site of the Convent of Sant Joan de Jerusalem, from the 14th century, which had been knocked down.

In 1914, responding to the demands of vendors and shoppers, the market was enclosed with a metal and glass roof, using iron as the architectural element. Even so, La Boqueria is unlike the other public covered markets in Barcelona, such as the Born (1876) or the Mercat de Sant Antoni (1882), which were purpose-built from new. It is dominated by a hybrid architecture that explains the unique history of what was the first market to have existed in Barcelona.

On 7th November, 1809, Napoleon's troops entered Hostalric with the aim of taking the town since it was on the only natural pass between Girona and Barcelona. Once the village had been razed, the Castle became the main target. On 13th May 1810, after five months of siege and with the walls demolished and the water supply cut off, the French managed to occupy the fortress.

This episode from the Peninsular War has left its mark on the current appearance of Hostalric Castle. This fortress was built in 1716 by the Engineer General of Philip V, George Prosper Verboom, who was also responsible for the Citadel in Barcelona and the fortification of La Seu Vella in Lleida. It was designed to take account of the new fortification models by the military engineer, Vauban. It had three bastions, defence towers, a moat and two ravelins.

The structure that has lasted up to the present day is formed by the underground entrance, cart gateway, the guards’ section, the bastion of Santa Tecla, the second gateway, the main arsenal, the crenellated bastion, the main gate, the parade ground, the clock tower and the road to the town.
Almost nothing remains of the original construction from the medieval period, which was demolished by the Duke of Noailles in 1695. Only the fortified road which ran from the town to the castle is of late medieval origin. The two walls parallel to the road were protected by two circular towers, of which only a small stretch is preserved.

Can you imagine being able to touch a chimney of the Pedrera, and a few steps further on, to admire the starry dome of the Palau Güell? And to be able to enter the workspace that Gaudí had in the Sagrada Familia? The Gaudí Centre in Reus is much more than a tribute from the municipality of Tarragona to one of its most illustrious and universally known sons. It is a modern and interactive museum that, since 2007, has set out to explain the life and work of the architect in an educational way.
 
The 1,200 square metres of exhibition space is divided into three levels that lays out a journey starting with who Gaudí was and the Reus of his birth, and finishing with the keys to his architectural language, passing through a space in which to discover his work along the way.
 
Technology is key to this museum project. And it is through technology that a complete sensory experience is created, using a combination of tactile models, immersive audiovisual projections and special effects such as mappings. Visitors can experience firsthand how Gaudí played with space, light, air and water in his buildings. And at the same time they can find out about the enigmas and the hidden and mysterious aspects of his architecture.
 
The Museum also exhibits a few original objects such as the only surviving handwritten notebook of Gaudí.

To talk about wine in the Penedès is to talk about the identity of an entire region. This symbiosis between history, culture and territory is reflected in the Museum of Wine Cultures of Catalonia (VINSEUM) in Vilafranca del Penedès, the first wine museum in Spain.

VINSEUM was created in 2007 as a space for visitors to experience the culture of wine. It is the conceptual evolution of the Museum of Vilafranca – Wine Museum, which was founded in 1935 to house various collections related to the Penedès. The collection has already exceeded 17,000 items which cover subjects such as archaeology, art (with an important collection of ceramics), ethnology and natural history.

But what has made the Museum into a benchmark is the collection related to viticulture: tools of the field, amphorae, ceramic pitchers, cups made of tin and silver, pieces of glassware from Bohemia, etc. Notable are the wine dioramas that narrate the history of viticulture. Thus, you can see scenes from the wineries of Egypt and Rome or the Monastery of Poblet. In addition to the objects, VINSEUM also has an important documentary collection on vines and wine.

The tour of the permanent exhibition begins on the third floor of the main building, a former royal palace of the Kings of Aragon (12th-13th century). A careful and modern museum display draws the visitor into an immersive tour through the various collections. It even has a multi-sensory module known as the "La Mirada Tàctil" or the Tactile View. The tour ends in the Museum’s Tavern, where you can taste wine or cava.