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Dizzying spires and intricate sculptures adorn Gaudí’s magical masterpiece. Construction began at the height of Modernisme , but is still in progress more than a century later. (Sagrada Família).

This amazing apartment block, with its curving façade and bizarre rooftop, has all of Gaudí’s architectural trademarks. Especially characteristic are the wrought-iron balconies and the ceramic mosaics decorating the entrance halls. (La Pedrera).

Domènech i Montaner’s magnificent concert hall is a joyous celebration of Catalan music. Ablaze with mosaic friezes, stained glass, ceramics and sculptures, it displays the full glory of the Modernista style. The work of Miquel Blay on the façade is rated as one of the best examples of Modernista sculpture in Barcelona. (Palau de la Música Catalana).

In defiant contrast to the Eixample’s symmetrical grid-like pattern, this ambitious project was planned around two avenues running at 45-degree angles to the Eixample streets. Started by Domènech i Montaner in 1905 and later completed by his son in 1930, the hospital pavilions are lavishly embellished with mosaics, stained glass and sculptures by Eusebi Arnau. The octagonal columns with floral capitals are inspired by those in the Monestir de Santes Creus (Monestir de Santes Creus), to the south of Barcelona. (Hospital de la Santa Creu i de Sant Pau).

With a rationally plain façade alleviated only by its Mudéjar- style brick work, this austere building, dating to 1886, was originally home to the publishing house Montaner i Simon. It bears the distinction of being the first Modernista work to be designed by Domènech i Montaner, which explains why it has so few of the ornate decorative touches that distinguish his later works. Home to the Fundació Tàpies, it is now dominated by an enormous sculpture by the contemporary Catalan artist, Antoni Tàpies. (Fundació Tàpies).

Illustrating Gaudí’s nationalist sentiments, Casa Batlló, on La Mansana de la Discòrdia (Modernista Buildings), represents an allegory of the legend of Sant Jordi see Charming Churches & Chapels. The roof is the dragon’s back and the balconies, sculpted in the form of carnival masks, are the skulls of the dragon’s victims. The polychrome façade reveals Gaudí’s remarkable use of colour and texture.

The top of Casa Amatller’s ochre-white façade bursts into a brilliant display of blue, cream and pink ceramics with burgundy florets. Architect Puig i Cadafalch’s exaggerated decorative use of ceramics is typical of Modernisme . This Mansana de la Discòrdia (Eixample) is a private house, but it is possible to access the ground floor, which houses the Amatller Foundation and a shop.

This palace is a fine example of Gaudí’s experiments with structure, especially the use of parabolic arches to orchestrate space. Also remarkable is the use of unusual building materials, such as ebony and rare South American woods. See Palau Güell).

Taking Modernisme’s Gothic and medieval obsessions to extremes that others seldom dared, Puig i Cadafalch created this imposing, castle-like structure between 1903 and 1905. Nicknamed the “House of Spines” because of its sharp, needle-like spires rising up from conical turrets, its true name is Casa Terrades. The flamboyant spires contrast with a façade that is, by Modernista standards, sparsely decorated.

Ironwork, ceramics, sculpture and stained glass come together here in a synthesis of the decorative and fine arts. The interior of this house, by Domènech i Montaner, has some superb sculptures by Eusebi Arnau and some of the finest Modernista furniture in existence.