The building that houses the restaurant is located in the heart of the medieval city; an environment created in the open space of the old provincial forum representation square. Inside the restaurant we can find Gothic pointed arches and walls of medieval origin, some of which have been modified during the 16th, 17th, and 18th centuries. The premises seem to have undergone modifications at different points in time during these centuries in order to divide the ground floor of the building into several rooms, probably to use them for independent commercial activities. This division still remains today. The exterior façade, on the other hand, is more modern than the interior would suggest, as it dates from a renovation carried out towards the end of the 18th century or the early 19th century. The façade that we see today is especially relevant for the symmetry of its window and balcony openings and the sgraffito present on the upper floors.

The building where El Galliner de l'Antiquari is located was a noble palace during the Medieval and Early Modern eras. The restaurant shares the palace with another restaurant, El Palau del Baró, which is found on the first floor. Inside the establishment we can see how the internal space is divided in two: a semi-underground ground floor and a modern loft that expands over the usable area of the premises. From the main hall of the restaurant, we can access an attached dining room and a smaller room, which serves as a small dining room and as a corridor.

The recycling of the Roman structures is one of the highlights of the restaurant, especially the eclectic-style wall opposite the entrance, which was made with the technique of opus quadratum and was greatly modified and adapted during medieval times. Also of note are the decorative elements inside the establishment, as among ancient architecture we find Baroque altars and representations of the Virgin Mary, and Gothic-style religious elements, all eclectically combined with other decorative elements dating to the early and mid-20th century.

Antiga Casa Corderet’s premises are quite small and are divided into two parts: a main room and a backroom. The shop is located in the main room and is unique with its Baroque shelves and showcases that share the style and dark green colour of the exterior shop window, one of the most noteworthy elements of the establishment. Through an old door on the wall opposite the main door, crowned with the year of the shop’s establishment, 1751, you access the backroom, where the old candlemaker’s workshop was located.

The restaurant and the building where it is located would be right in the middle of the Recinte de Culte — the Roman city’s imperial cult enclosure, or temple. The restaurant is located mainly in the wing of the Chamberlain's palace that was added to the building during the 17th century. The ‘newer’ wing has a plethora of beautiful walls and arches built during the Early Modern era and, in the basement cellar, we find a space where the roof is held by Gothic pointed arches and some of the walls seem to be even older and possibly date as far back as Roman times. These walls could be hiding a closed access to the cistern under the Pla de la Seu or to the Roman sewer which passed underneath the building and which connects with the one beneath Carrer de la Merceria.

Lastly, it is also of note that on the first floor there is a room with pictorial remains that date from the Early Modern era.

The building itself dates from the 19th century, but inside we find older remains that speak of a far longer period of occupation. In the middle of the premises and acting as an archway between two rooms, there is a Gothic pointed arch of medieval origin that is in very good condition. The great attraction of the establishment, however, are the archaeological remains that are preserved below the surface, which can be seen through glass floors at the entrance of the store and in the area around the fitting rooms. The remains below are part of a large monumental staircase that connected the provincial forum representation square and the imperial cult complex, two of the three main terraces into which the city was divided in Roman times.

This pathway follows the Roman wall along its north-western section. The path visitors tread on is built upon the early modern fortifications and bastions that were annexed to the city walls and acquired their modern configuration in the aftermath of the Napoleonic wars.

The oldest sections of the Roman wall itself date from around the latter part of the 3rd century BCE. Along the wall, one will easily notice that two distinct architectural styles were used here by the ancient Romans: the base of the wall is made out of large cyclopean boulders, while the rest is made out of squared stone blocks installed without the use of mortar. In addition to the original towers, more were added during the Medieval era, when the older towers were also renovated, and new gates constructed.

One of the most notable elements that can be seen from the Archaeological Promenade is the Torre de Minerva (Tower of Minerva), named after a relief of the goddess that was discovered in the tower. The small museum nested inside one of the early modern bastions is also of particular interest.

The building contains a section of the closing wall of the provincial forum representation square, made with the technique of opus quadratum, and a singular gallery, specifically a cryptoporticus, with walls and a stone vaulted roof belonging to the same building. The room where these remains can be seen is small in size, but the remains make up for their reduced dimensions with their unique condition and splendour.

The restoration works of the Casa Canals carried out in the first decade of the 2000s brought out the remains of the original Medieval and Early Modern era buildings that still persist under the modern palace. The remains tell us that an old noble house was already present where the palace is now located, which speaks of the high desirability and social prestige of the area, a fact that is also confirmed by contemporary documents. Some remains of these are still preserved on the ground floor of the house, and under the garden patio of the main floor.

In addition, one of the highlights of Casa Canals is the use of a long stretch of the Roman city wall as the western wall of the building, and the fact that there are openings to the wall used as windows and balconies on the main floor.

Everything indicates that the current building dates from the very late 18th century and that it was built as a new manor house for the Canals family, a lineage of merchants and nobles that until then had their residence on Carrer de les Cuirateries.

The main attraction of the house, though, is the planta noble — the main or ‘noble’ floor — with its large halls and chambers, all of which preserve all the furniture found in the house at the end of the 19th century. Other highlights include the ballroom, the grand staircase, and the garden courtyard. The third floor, which previously housed the servants' quarters, has been completely renovated and now hosts the center for contemporary arts: Mèdol.

El Cau is located under one of the most emblematic streets of the city, Baixada de la Misericòrdia, a 19th century street that connects the terrace of the Circus with the one occupied by the provincial forum representation square. Both spaces today have been almost completely hidden by and covered under the medieval and early modern development of the Part Alta (Tarragona’s Old Town). Like many buildings around it, the Baixada uses several vaults of the old Circus as its foundations. It is two of these vaults which host El Cau. The vaults themselves are made of a combination of the techniques of opus  quadratum and opus caementicium. The Roman remains have been modified over the centuries in order to adapt them to the needs of each era. The Roman origin of the structure, however, can still be clearly observed. Both vaults are joined by a small passage probably constructed during the Early Modern era.

The restaurant is located on the main floor of an Early Modern era palace overlooking Carrer de Santa Anna and the old Jewish Quarter of the city (El Call). Access is granted directly from the street through a closed noble staircase, which clearly contrasts with the monumental staircase courtyards that we observe in most other stately homes in the city. The building itself was built on the eastern enclosure wall of the Plaça de la Representació, part of the Provincial Forum, and preserves the original layout and pictorial decorations as they were during the Early Modern era. Some of the highlights include a room painted by famous Reus-born painter Marià Fortuny and a Neoclassical-style private chapel. The restaurant shares the building with El Galliner de l'Antiquari, another restaurant, which is located on the ground floor.

The home belonged to the Morenes family: originally a lineage of apothecaries from El Vendrell who became rich and were ennobled during the 18th century.

Personal’s premises consist of two adjacent spaces within the same building, which were formerly independent. The space through which we enter the building greets us with two lowered pointed arches: one on the right-hand wall and one at the other end of the shop. The latter gives way to the shop’s storeroom, where you can see the structures of an old courtyard, now built upon. Specifically, a medieval low balcony with carved coats of arms stands out in the old courtyard space. The roof of the main part of the shop is also of interest, as it features a unique wooden coffered ceiling held by a semicircular arch in the centre of the room.

The second space in the shop is adorned with segmental arches and a Catalan vaulted ceiling. The room is closed on its eastern end with an 18th century flat archway. The dividing wall between the two main spaces of the shop seems to date back to the late Middle Ages or Early Modern era.

The space where Casa Castellarnau is located was originally a cluster of smaller medieval residences built along the south-western section of the thoroughfare known as Carrer dels Cavallers. The original houses were built using the mur vell (old wall), a 12th century defensive structure, as a foundation for their southern façades. The mur vell itself was built upon the southernmost wall of the provincial forum representation square  and can still be found intact in the basements of Casa Castellarnau, along with the remains of the medieval houses that stood there until they were torn down in the latter part of the 18th century to make way for the current palace.

Beneath Casa Castellarnau one can also find evidence of sections of the Roman wall of the provincial forum representation square  having been turned into residences during the late antiquity period. As previously stated, the cluster of homes located in the area served as a royal residence for Emperor Charles V’s stay in Tarragona during 1542. Contemporary sources speak of major reforms happening in the area to accommodate the monarch, but these reforms do not seem to have affected the foundations of the buildings, which are the only physical remains we are left with.

It was not until 1764 that Carles de Castellarnau i de Castellarnau bought one of the houses at Carrer dels Cavallers. A newcomer to the city and originally from the Pyrenean town of Alins (in the county of Pallars Sobirà), de Castellarnau was the first of this illustrious dynasty to set up residence in Tarragona, which he did in 1748. Soon after purchasing the house at Carrer dels Cavallers, de Castellarnau would pass away, leaving his widow, Maria Magrinyà i Porta, to take care of family affairs and enterprises. Under her command, the family would buy the neighbouring buildings and transform them into a single palace. The resulting construction is what can be seen nowadays, barring some changes in distribution resulting from Casa Castellarnau’s adaptation as a museum and as the main headquarters for the History Museum of Tarragona.

The building preserves a large part of the front ceiling of the Roman vault, the furthest from the arena. The vault’s rear ceiling, however, is now long gone. The side walls that support the vault have elements of the original opus quadratum and opus caementicium, but in part of the sections these construction techniques have been replaced by later constructions of different characteristics, including openings and fillings of sections of the walls or replacements of apparently damaged sections. In the front of the premises we can see the exterior wall of the original vault, joined by a unique row of half-buried opus quadratum, visible today through a glass floor. The building’s other highlights are the delimitation that is made between the Roman construction and the modern building built above, and the presence of two Gothic arches, one on top of the other, which are found at the rear of the premises.

The Former City Hall was originally a medieval residential building which was bought by the City Council and converted into its headquarters during the 15th century. What we see today from the exterior is a 19th century renovation. The building consists of a ground floor and two upper floors built around an inner courtyard, where the main staircase is located. Around the courtyard, on the first floor, are the main rooms and spaces of the building, where the city’s management was done. The main façade stands out for the symmetry of the window openings, the large cast iron balcony of the first floor and the ornamentation around the façade’s openings, as well as the detailed coats of arms of the city carved on the façade.

This is a medieval building constructed at the westernmost wall of the Roman provincial forum representation square. This location has left us with some rows in the opus quadratum style that were used as foundations upon which to build all the medieval houses on the western side of the street. The plethora of arches inside the restaurant are also of note, as they date from the time the house was first built, around the 13th or 14th centuries, and are in a very good state of preservation. Most of the original walls are also in good shape and have been left visible to the naked eye. Some pointed arches, though, have been filled and retrofitted as walls in order to subdivide the ground floor space differently, and this probably happened during the Early Modern era. Lastly, a flat arch dating from either the 16th or 17th centuries can be seen at the western end of the restaurant. Its opening was probably walled sometime in the 19th century, but it would originally have led to the rear area of the Convent of St. Dominic.