Tokyo Tower is one of those classic city icons you can’t skip (I mean they even have an Apple emoji for it so it doesn’t get any more iconic than that). And a lot of people don’t know this but you can actually go inside as they have an observation deck. From up there, you get an incredible 360° view where you can see Shibuya, Roppongi and even Mount Fuji (if it’s a clear day). If you’re a fan of quirky souvenirs the tower shops have tons of Tokyo themed goodies, so make sure you bring a spare bag!

Shibuya Sky is an open air rooftop with 360 degree views over the city and it’s one of my favourite spots in Tokyo. The escalator ride up is futuristic and lights up perfectly for photos, building anticipation for the panoramic views at the top. I visited in the evening and seeing the city lit up was absolutely magical. There’s also a lounge area and bar at top where you can just sit, have a cocktail and take it all in at your own pace.

Former Banco Vitalicio building at the corner of Passeig de Gràcia and Gran Via. Stately facade and a classic clock tower.

Torre Bellesguard, also known as Casa Figueres, was built by Antoni Gaudí between 1900 and 1909 in the Sarrià–Sant Gervasi district. The site carries significant historical weight: it was here that Martin I the Humane, the last king of the House of Barcelona, lived and died in 1410. The commission came from Maria Sagués Molins, widow of Jaume Figueras. Gaudí reinterpreted Catalan Gothic in a modern key: straight stone walls, pointed windows, and a tower topped with a four-armed cross covered in ceramics. Though more austere than some of his other works, it incorporates characteristic elements: use of local materials, integration with the landscape, craftsmanship in ironwork and mosaics, and a layout that maximizes light and views. The name Bellesguard means “beautiful view,” referencing the natural lookout the estate offers.

Built between 1905 and 1908 by Lluís Domènech i Montaner for the Orfeó Català, the "Palau de la Música Catalana" is one of the most iconic buildings of Catalan Modernism. Domènech combined iron, brick, glass, and ceramics to create a space where structure and ornamentation merge in perfect harmony. Its innovative metal framework allows for a concert hall free of load-bearing walls, bathed in natural light filtered through colorful stained glass. The interior stands out for its exuberant sculptural decoration, filled with references to classical music and universal composers. The central skylight, designed by Antoni Rigalt i Blanch, is an inverted stained-glass dome shaped like the sun that floods the hall with light and has become the emblem of the Palau, declared a UNESCO World Heritage Site in 1997.

Between 1886 and 1890, Antoni Gaudí built the Palau Güell for his patron Eusebi Güell. Located on Carrer Nou de la Rambla, in the heart of the Raval, it stands apart from the bourgeois Eixample in a then working-class, densely populated area. In this “orientalist” phase, Gaudí blended medieval, Nasrid, and Byzantine references. The exterior, sober and made of stone, contrasts with interiors rich in marble, fine wood, wrought iron, and mosaics. The narrow plot led to a vertical solution: the grand Central Hall, spanning three levels, is topped by a perforated dome that lets in light like a starry sky. Home to the Güell family and a space of vibrant social life, it was inaugurated during the 1888 Universal Exhibition. Less known than his later works, the Palau Güell is essential for understanding Gaudí: mastery of space, play of light, and exceptional craftsmanship brought together in a unique urban residence.

Built between 1883 and 1885 in the former village of Gràcia, Casa Vicens was Antoni Gaudí’s first major commission. Manuel Vicens, a stockbroker, commissioned it as a summer house in what was then a quiet, tree-lined area. Gaudí combined straight lines and geometric volumes with decoration that blends Oriental, Nasrid, and Japanese influences. The façade alternates stone, brick, and ceramic tiles with floral motifs, including the famous yellow carnation tiles inspired by the flowers that once grew on the site. The iron gate reproduces the silhouette of a palm leaf —another nod to nature. Inside, highlights include the dining room opening onto the garden, an Oriental-inspired smoking room, and meticulously decorated bedrooms, all showcasing the integration of architecture and the applied arts. Casa Vicens is an early work in which Gaudí began to explore the ideas that would later define his distinctive personal style.

Between Passeig de Gràcia and Avinguda Diagonal rises Casa Terradas, better known as Casa de les Punxes (“House of the Spikes”) for its pointed towers. It was designed in 1905 by Josep Puig i Cadafalch for the Terradas sisters, who wanted a distinctive building in modern Barcelona. Puig i Cadafalch conceived an authentic urban castle: conical towers, pointed windows, and a continuous façade connecting the three family residences. The blend of Catalan Gothic and European Modernism can be seen in the ceramics, wrought iron, and sculptural reliefs —notably the ceramic panel dedicated to Saint George (Sant Jordi), a reflection of the Catalan patriotism of the time. Today, its silhouette still dominates Diagonal, standing as a landmark of Barcelona’s Modernist architecture.

Built between 1906 and 1912, Casa Milà —popularly known as La Pedrera (“the stone quarry” in Catalan)— was commissioned by Pere Milà and Roser Segimon, who sought a distinctive residence on Passeig de Gràcia. In the height of his creative maturity, Gaudí designed a building without straight lines, with a flowing stone façade that broke all aesthetic conventions of the time. Technically innovative, La Pedrera dispensed with load-bearing walls: a structure of pillars and beams allowed for open, customizable floor plans. The interior courtyards provide natural light and ventilation, while the rooftop —with its sculptural chimneys and vents— fuses function and art. From the wrought-iron balconies to the interior design, every detail follows a single organic logic. La Pedrera cemented Gaudí’s reputation as an architect capable of transforming tradition into pure avant-garde.

Between 1904 and 1906, Gaudí transformed a conventional building on Passeig de Gràcia into one of his masterpieces. Commissioned by the industrialist Josep Batlló, the house became a manifesto of advanced Modernism —an architecture where light, color, and organic forms blend seamlessly with nature. The façade, covered in "trencadís" (broken tile mosaic), changes tone depending on the daylight. Its iron balconies resemble masks or shells, and the columns of the main floor evoke bones, giving the building an almost marine or fantastical appearance. Inside, Gaudí designed every detail to optimize light and ventilation: from the vaulted entrance hall to the ceramic light well that distributes brightness gradually throughout the space. On the rooftop, the curved roofline and mosaic-covered chimneys crown the building with an almost sculptural character. Located on the so-called “Block of Discord,” Casa Batlló stands alongside other Modernist gems by Puig i Cadafalch and Domènech i Montaner, reflecting the bourgeois splendor of early 20th-century Barcelona.