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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.

The Sagrada Família is Antoni Gaudí’s best-known creation and Barcelona’s most iconic landmark. Construction began in 1883, and today it is one of the world’s most unique basilicas. It covers an entire block in the Eixample district, and its towers are visible from much of the city. The crypt and the Nativity façade have been designated UNESCO World Heritage Sites.

Gaudí spent more than forty years working on it and devoted himself to it exclusively during the last fifteen years of his life. The fact that it is his final resting place speaks volumes about the importance this work held for him.

He envisioned the temple as a grand synthesis of architecture, nature and religion. Its basilica floor plan features a Latin cross layout with three major façades (Nativity, Passion and Glory) and eighteen towers representing the apostles, the evangelists, the Virgin Mary and Jesus Christ. The interior resembles a vast stone forest, featuring columns that branch out like trees and filter the light through the stained-glass windows.

For a long time, Barcelona's residents regarded the Sagrada Familia as a perpetually unfinished project. Following Gaudí's death in 1926, construction continued according to his plans and models, despite the destruction of some of the original materials during the Spanish Civil War. Over the years, various architects have continued the project right up to the present day.

On 20 February 2026, a major milestone was reached when the upper arm of the cross was placed on the Tower of Jesus Christ, marking the temple’s highest point. Thanks to the accelerated pace of work in recent years, completion of this iconic building is drawing ever closer. Construction is expected to be completed within the next decade.

Estudi Taller Carles Fontserè artist’s studio, in the municipality of Porqueres in the Pla de l’Estany region, is home to a significant part of the legacy of one of the most representative Catalan artists of the 20th century.
Carles Fontserè i Carrió (1916–2007) enjoyed a wide-ranging career in fields such as painting, drawing, writing and set design, but he was particularly noted for his poster design, illustration and photography.

The Spanish Civil War had a profound impact on his life and work. He began working as a poster illustrator for the Propaganda Commission of the Generalitat de Catalunya (Catalan Regional Government). His loyalty to the Republican cause led him into exile in France, Mexico and New York, where he continued to pursue a successful artistic career. At the Casal Català of New York (Catalan Society), he met and married Terry Broch, a publicist whose father was Catalan and mother Valencian. Broch was instrumental in the development of Fontserè’s artistic career and in promoting his work.

In 1973, they returned to Catalonia and took up residence at the Can Tista i Montguix estate, turning it into their studio. The workshop-studio, located at Can Montguix, is open to the public. It is a creative environment with an open and functional layout, designed to accommodate Fontserè's various artistic disciplines. There are spaces dedicated to painting and archival materials, as well as a library and a studio, where visitors can view personal belongings, photographs and pieces of art that offer an insight into his life.

Thanks to the donation of his estate to the Generalitat de Catalunya in 1994, Estudi Taller Carles Fontserè is now a place where you can learn about the life and work of a key artist of the second half of the 20th century and delve into his creative world. Furthermore, since Terry Broch’s death in 2016, the centre has been managed by the Generalitat de Catalunya.

Torre Bellesguard is one of Antoni Gaudí’s most remarkable projects in Barcelona. At the foot of the Collserola hills, the castle lies on a site with over two thousand years of history. Remains from the Iberian and Roman periods have been found there. It was also once a hideout for outlaws and home to King Martin I the Humane, the last monarch of the Casal de Barcelona.

In the early 20th century, Gaudí drew inspiration from that past to build a residence on the site for the Figueres family. The building is reminiscent of a castle, with ramparts, Gothic-style windows and a large spire topped by a four-armed cross. However, Gaudí takes a liberal approach to the Gothic style and combines it with his own architectural innovations, such as the use of slabs, ceramic mosaic benches and stained-glass windows.

The tower is built from greenish stone quarried from the site itself, which blends the building seamlessly into the landscape. Inside, the light-filled spaces, the staircase courtyard and the attics with exposed brickwork highlight the architect's ingenuity.

Declared a Site of Cultural Interest in 1969, Torre Bellesguard is now open to the public, providing visitors with the opportunity to discover one of Gaudí’s most hidden treasures and the site’s long history.

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.

On the outskirts of the ancient city of Tarraco, on the banks of the Francolí River, the Necropolis of Tarraco takes visitors on a journey back in time to the funerary practices and beliefs of the Roman world and to life in the neighbourhoods outside the walls of a Roman city.

This sprawling cemetery includes both tombs of people of the Roman religion and early Christian Romans, from the 3rd-5th centuries AD. With more than 2,000 documented burials, the cemetery is one of the most important surviving burial grounds of the Roman Empire.

As you walk through the necropolis, you can see various types of tombs. The place and method of burial varied according to the deceased's social status. The higher the status, the closer they were buried to a main road, such as the Via Augusta. Therefore, burial sites ranged from simple graves with coffins made of materials such as wood, stone or lead, to more elaborate mausoleums and churches with decorated sarcophagi.

The necropolis was uncovered during the construction of the Tobacco Factory in 1923. Subsequent excavation made it possible to conclude that the bishop of Tarraco St. Fructuosus and his deacons St. Augurius and St. Eulogius were buried in 259 AD. It also revealed the location of the crypts of the Arches and of the Engineers; uncovered details about religious beliefs and life in Roman times; and brought to light pieces such as the tombstone of Optimus, the Lion sarcophagus and the Ivory Doll, which was found inside a sarcophagus with the remains of a six-year-old girl.

Therefore, the necropolis of Tarraco is an essential stop for all those interested in archaeology and Roman history. The complex is part of the Archaeological Ensemble of Tarraco, listed as a UNESCO World Heritage Site since 2000.