The Fountain-Monument has three parts: a base, a column and a statue. The base is square with eight springs, which are reliefs of human faces. The column is Doric in style, with the lower part of the shaft fluted and the upper part featuring girls dancing with water jugs in their hands (a symbol of civic joy). The base has garlands on the sides and animals on the corners. The statue represents King Neptune crowned and holding a trident in his right hand. The Espelt water gate had a spectacular effect on the town, and the best evidence of this can be seen in the monuments erected to commemorate the event. The monument was part of a group of four public fountains designed as the culmination of the water gate. The fountain was designed by Francesc Vallès, an engineer of French descent, and the artistic work was carried out by the sculptor Damià Campeny. It was inaugurated on 11 June 1832. In 1970, the town council had the monument rebuilt. The work was carried out by Hugo Pratch under the direction of the architect Joan Bassegoda Nonell.

The site where the complex was located, known as ‘Godó colony’ and a manufacturing centre, had an area of 15,000 m2 with two longitudinal warehouses with a large number of openings on the outside to facilitate the entry of air into the warehouses. The power station measures 50 x 14 m with an approximate surface area of 700 m2 and is five storeys high. Part of the foundations are made of solid brick, forming arcades that are understood to be on sandy ground due to the proximity of the river. The four-storey warehouses have a very simple structure that is determined by the rectangular structure of the building. Three rows of cast iron pillars support the ceilings - on the first floors they are interspersed with wooden pillars of the same shape. The ceilings are made of wooden boards with reinforcing planks to support the weight of the looms. The roof has two slopes, leaving a central nave with a row of wooden pillars and trusses, and there are skylights in the ceiling. Next to the west façade stands the square brick chimney. The most remarkable element of the whole complex is the entrance gate to the enclosure, formed by a segmental arch made of smooth stone voussoirs and a triangular finial that is like a recreation of the Roman triumphal arch. Founded in 1842, under the promotion of the Godó family, it was in its beginnings one of the most important cotton manufacturing industries in Catalonia, both for the diversity of its production and for the number of workers employed there. It was also the first textile factory in Igualada to use a steam engine and the first to install electric lighting in 1885. Its most famous owner was Joan Godó i Llucià, after whom the street is named. As well as being a businessman he was a politician and the head of Sagasta's party in Igualada, becoming a member of parliament for the district of Igualada, where he had also been mayor. This company was known by different names depending on the owner: between 1842-1853, Fabril Igualadina Cotonera; 1853-1868, Compañía Fabril Igualadina Algodonera; 1868-1873, Igualadina Cotonera S. A.; 1873-1876, ceased operations; 1880-1936, Joan Godó i Llucià took over; 1936-1939, during the Spanish Civil War it was collectivised; 1939-1957, Joan Godó i Pelegrí recovered it; 1957-1967, S.A. Textil Igualadina. Finally, in 1967, the company disappeared, leaving the building and annexes abandoned. It would suffer subsequent demolitions, with the central nave and the steam chimney still remaining intact. It is included in the Inventory of Spanish Architectural Heritage of a Historical and Artistic Nature. [Province of Barcelona, 1979-1980, r.:1095]

The factory, known as the ‘Vapor Nou (New Steam), dates back to 1897 and is a very characteristic example of the cotton textile industry. It consists of two large longitudinal buildings, each two storeys high, with large exterior openings supported by segmental arches covered in red stucco to add a touch of colour and bring the whole complex to life. The large chimney built of fired brick stands out, majestically presiding over the whole complex. Joan Boyer i Ferrer was the owner of a textile factory in the mid-19th century. Following the arrival of the railway in Igualada, which made it possible to transport coal and thus use the steam engine, he moved the factory to the Rec area in 1897. In 1910, an extension was built on the same street, Carrer del Rec. In 1978-79, the factory closed down. In 1981, the building was purchased by Igualada Town Council to house the Regional Museum.

The Mercantil building follows an eclectic style. The façade can be divided into five parts: the main entrance is located in the central, most advanced part. The name of the entity is located at the top and the year of its foundation in the centre, and a covered gallery connects both ends with the central part. The decorative elements are the sgraffito, placed on the tympanums of the two openings flanking the building, and the metallic-effect ceramic frieze. Inside, the theatre is particularly noteworthy: upon entering, we find the amphitheatre, and then the stalls surrounded on either side by galleries. The first floor has a central area with armchairs and two side areas with tiers of seats. The whole building is surrounded by a well-tended garden. The Mercantile, Industrial and Agricultural Centre was founded in 1899 as a result of a disagreement between several members of the former Casino de Recreo, some of whom were supporters of the Godó family and others of the Boyer family. The organisation's social club was built on the site of the former Tívoli theatre, and its inauguration coincided with the town's annual festival in 1899. The Mercantile Circle celebrated its 50th anniversary in 1949. It contains a theatre, a café-lounge and a ballroom. It was built according to a design by architect Francisco de B. Galtés, with the construction supervised by Francesc Sellés, decoration by Frederic Brunet and painting by Bartomeu Camps and Antoni Tomàs.

One-storey building. The façade is divided into three sections - a central section with three doorways and three windows, and two side sections with four openings each. Once up the entrance stairs, we find ourselves in a large atrium, formerly a theatre, which now serves as a hallway leading to the different rooms: library, theatre, café and office. Art Nouveau leaded glass windows above the doors alternate floral representations with allegories of the organisation. The theatre, attributed to the architect Pau Salvat i Espasa, is the most important room. Structurally, it is horseshoe-shaped and consists of a stalls area and two floors. The decorative features include the frieze surrounding the ceiling and the iron railings, designed by the Igualada-born set designer Pere Valls i Bofarull. Outside, the Municipal School of Music is located to the left of the building and the garden is to the right, with a fountain decorated with trencadís mosaic. The Athenaeum was founded in the heat of the romantic progressivism that was in vogue in Catalonia during the second half of the last century, and its combination of cultural, educational and recreational activities played a fundamental role in spreading progressive ideas and popular culture. After the fire that destroyed the old headquarters in 1873, the current building was constructed in 1877. In the 19th century, it ran a primary school, a theatre and a library. Between 1919 and 1935, the organisation gained momentum with the establishment of a school group linked to the Catalan educational movement, a music conservatory, a weaving school and a sports ground. After 1939, the national forces seized the building and it was renamed the ‘National Centre’.

This building stands out both for its formal characteristics and its urban setting. Located at one of the most significant crossroads in the city, it is the end point of the perspective offered by the Rambla Sant Isidre – an aspect that is reinforced by the enhancement of the corner highlighted by the rounded tribune and the dome at the top. The building, located on the corner, has a longer façade on Rambla Nova than on Carrer Garcia Fossas. The first façade is where it is located, and has a very classicist layout with a finial that emphasises symmetry, while the other façade is simpler. The union between the two is resolved with a rounded tribune (closed on the first floor, open on the second and with a balcony on the third), accompanied by continuous balconies whose length decreases as the height increases. As mentioned above, this solution is emphasised by the eye-catching dome covered with coloured ceramic scales and topped by a slender metal weather vane.

The house belongs to the Catalan Art Nouveau style. Its ground floor was destroyed during its last renovation, but the first floor and above have remained intact. The building is clearly inspired by the work of Puig i Cadafalch, specifically the Ametller house. The decoration features decorated brickwork and stone reliefs. However, the element that most characterises the structure is the open gallery in the centre of the façade, which ends in stepped forms and a stepped pediment. This pediment is filled with stone reliefs, where you can see the coat of arms with the family's initials. (...) (...) which was made in Jujol's workshop. This building is connected to Gothic-Renaissance civil constructions, palaces of powerful lords who sought to demonstrate their monetary worth through the use of architecture; this is clearly reflected in the large medallion of carved stone bearing a coat of arms with the initials of the owner family. Developer of the work: Josep Sabater i Duran, tanner.

The façade of the Igualadina Agency is classified as Catalan Art Nouveau in style. The façade features elements typical of Catalan decorative arts, such as tiles, sgraffito, decorative ironwork, etc. All these elements share the floral decoration typical of the style to which they belong. These Art Nouveau elements are part of a renovation of the façade that was carried out in 1903. For this reason, the style is more marked by decorative elements than structural ones. This building is therefore part of the decorative trend of Catalan Art Nouveau. The history of the Igualadina Agency is linked in its origins to the Rovires Hostel. In 1828, stagecoaches bound for Barcelona departed from here. The railway from Barcelona to Martorell shortened the journey by half, reducing the distance from Igualada to Martorell. With the arrival of the Central Railway in 1895, the stagecoach lost all its significance, but the transport service gained importance, a branch to which it devoted itself from 1909 onwards, when Francesc Ollé took over. Developer of the work: Francesc Ollé Malet.

It covers an area of approximately 13,000 square metres. The main building is rectangular in shape. The two square-shaped sections are on both sides. Two wings joined to the central section by a covered corridor lead to the courtyards. Behind the main building are a number of small outbuildings. The supporting structure of the central nave and the two smaller ones is made of iron. The corrals have wooden trusses. The basic construction materials are brick and stone. Green ceramics are used for decoration. The complex of buildings is symmetrically distributed with respect to an axis perpendicular to the street, which passes through the central nave and the main door. The building's origins date back to 1902, when its construction was approved at a town council meeting. The plans were signed in 1903 and the building was inaugurated in 1905. It was built outside the town on land known as ‘Foristeries de Sant Agustí’, which was donated by Mr Castillos.

On the façade, we find sgraffito decorations running along the top of the openings, following a cornice that separates and marks the floors on the façade. These sgraffito decorations are geometric and floral in style, revealing the influence of the Viennese section. In terms of structure, we can see the influence of the architecture of Pau Salvat (who was the unpaid municipal architect at the time), as the openings on both floors are made with springer arches. Inside the building, there are geometric sgraffito decorations on the baseboard, centred on a stylised flower. The building is crowned by a kind of battlement with sgraffito, joined together by railings crafted in the style of the period. Developer of the work: Josep Biosca i Vila.

Edifici entre mitgeres amb la façana modernista. La façana parteix d'una simetria donada per tres eixos d'obertures. La part més interessant la trobem al tercer pis on les obertures són flanquejades per unes columnes de capitells jònics suportants uns timpans ondulats, l'interior dels quals és decorat amb uns esgrafiats policromats, i les baranes de forja.

A school building with a ground floor and two upper floors, remodelled from the former Augustinian convent, to which a floor was added in 1905. Due to its large size—it occupies one entire side of the square—once the square was configured, the rhythm of the windows was interrupted by the two elements at the end and by the central element, consisting of three arches on pilasters with floral capitals. The latter, in the central section, is taller and topped with a coat of arms surrounded by plant motifs and crowned by a wrought iron element that houses the clock bell. This clock on the façade was installed by the clockmaker Salvador Nadal, who also built the clock at the old railway station. On the right wing of the building, and forming part of it, is the Church of La Pietat. Church of La Pietat This is a single-nave church, although the gaps between the side altars give it the appearance of three naves. The most important part is the chapel, which contains murals painted by J. Torras i Viver in 1959. It is located at the far right of the Pia School and is attached to it. This means that the façade, built at the same time (1908), follows the same layout as the main building. It is structured in three bands delimited by false stone pilasters crowned with capitals reminiscent of the neoclassical style. In the central part, there is a pointed arch entrance door. It is a false façade that rises above the roof and in the centre there is a bell gable. In 1835, the Royal College of the Pious Schools located on Carrer Nou was closed and the Piarists left the city. In 1835, they returned to Igualada and settled in the former Augustinian convent, where they opened the school that same year. In 1905, a renovation was carried out, promoted by Father Rector Pere Villar.

Residential building constructed with stone blocks, rectangular in shape and three stories high. On the first floor, the balcony stands out with three large windows and an iron railing featuring floral decorations. On the second floor, the balcony is divided into three sections, as is the decorated iron railing. On the top floor, the iron railings disappear to make way for small double-arched windows with a small Corinthian column in the centre. Also noteworthy is the stone relief decoration with floral motifs that is distributed throughout the building and is particularly prominent on the top floor. This old building was given a new façade in 1920.

Residential and commercial building occupying the entire Custiol-Roser chamfer. It consists of a commercial ground floor and three landings. The most significant element is the circular tower, placed on the same chamfer, which stands out from the rest of the building. The rest of the façade has alternating balconies, overhanging balconies and sill balconies, which cover the entire façade without any rhythm. These have wavy lintels and a broken cornice with decorative elements. The decoration consists of metallic lustre-painted ceramics, placed on the jambs and lintels of the openings and sgraffito on the top of the house. The entrance has a painted floral face and sgraffito on the wall. The owner and promoter of the work was Bonaventura Maria Prats. The work was designed by the architect Isidre Gili Moncunill, carried out in 1905.

A Catalan Art Nouveau building constructed in stone, its most remarkable feature is the floral-themed stone relief decoration inserted throughout the façade, creating a dynamic compositional rhythm enlivened by the wrought iron balconies that follow a sinuous line. Also noteworthy are the two lamps hanging from the first floor, which are original to the building's construction period. Developer of the work: Josep Sabaté Tarafa, watchmaker.

A four-storey building located on Carrer del Born. It has a classic-style façade, with plasterwork featuring vertical and horizontal lines designed to imitate ashlar masonry. The ground floor is particularly noteworthy, as it houses the Bausili Pharmacy. The pharmacy has Catalan Art Nouveau-style leaded windows decorated with flowers and geometric shapes.

Block of flats comprising a commercial ground floor and two floors. The main façade on Carrer de Sant Maria is made entirely of ashlar. The rhythm of the arches on the ground floor is repeated in the openings on the first floor, while the sharp shapes of the stepped lintels of the gallery on the first floor are used again in the battlements that crown the building, presenting an alternation of vertical shapes. It has a side tower or stand which is circular in shape and crowned with a pinnacle and is covered with yellow-red glazed ceramics. The rear façade on the Plaça de Sant Miquel has three storeys, with seven openings on each storey in the form of sill balconies, separated by pilasters and with stepped lintels, finished with battlements crowned with green ceramic pinnacles. It is also flanked by a small belfry. It is made entirely of exposed brick. Block of flats with a commercial floor. It was carried out by the architect Isidre Gili Moncunill during the years 1908-1909. The project was drawn up by Pau Salvat i Espasa, the municipal architect, although the ownership corresponds to Isidre Gili i Moncunill.

An old stately building that was renovated in 1914 as part of a project to build a new façade. It consists of a cellar with a vaulted ceiling, a ground floor, a first floor and an attic. The load-bearing walls are constructed with wooden beams and barrel vaults. The façade features a tribune with classical columns and is painted with floral motifs inside, influenced by Catalan Art Nouveau. The façade is decorated with plaster mouldings, especially on the portholes that crown the second-floor balconies.

In this building we find the use of brick to form the arches and decoration in the openings of the façade. Here it presents bolder forms, facing rampant arches, and an element that we will not find again in any other local Art Nouveau construction: the iron beam seen on the façade forming a lintel. This compositional peculiarity had been used by Lluís Moncunill in Terrassa in an early phase of his architectural style, which has come to be called “rationalist Art Nouveau”. Industrial building remodelled in 1917. Developer of the work: Josep Pelfort i Mussons, tanner.

Industrial complex made up of two buildings forming an L. The openings of Cal Borrasset are presented as an identifying and architecturally relevant element. They have a stepped lintel structure and segmental arch brick doors. The windows are outlined with a drip edge flashing of the same structure. The building is crowned with a stepped pediment, which conceals a gabled roof. Secondly, the game of colours serves as another decorative element, as we can see in the white of the stucco background and the red of the brick arches. Also noteworthy are the gate, with its grille, and the passageway to the inner courtyard. It is a very common type of industrial building, of which only the large angle brackets of the beams and the fact that it is unfinished, as the façade is not clad, are worth mentioning. In 1847, the Cabot plan for the urban planning of the city was carried out, establishing large blocks and the expansion of the city. In the area between Passeig Verdaguer and the Rambla, new factories were established. In 1868, there was already a factory on the site. The owner-developer was the commercial firm ‘Valls y Borràs’, which worked in the grain trade.

The entrance of this building has a space with direct access to the street, where we can see a ceiling painted in a floral style, with a predominance of ochre tones, and geometric sgraffito on the walls. This part communicates with the courtyard covered by a glass dome where the staircase leading to the first floor is located. The junction between these two spaces is formed by arches, supported by a pair of columns with pseudo-Ionic capitals. On the walls there are elongated openings with stepped lintels with geometric sgraffito on the jambs. The structural forms and decorations are similar to those used by Puig i Cadafalch in the interior of the Macaya house. Also noteworthy are the wrought ironwork forming the grilles and railings, of a geometric type, reminiscent of those designed by Gaudí. Grandstand: Iron structure and leaded stained glass decoration in soft colours with geometric patterns presided over by rounded inflexion arches like those inside the entrance. This tribune has the most important windows, together with the windows of the Working Class Athenaeum from Igualada, and they are almost the only ones in modernist decoration in Igualada. Refurbishment promoted by Antoni Capell i Balañà. Tribune: The recovery of leaded glass, very typical of the stained glass windows of medieval cathedrals, is recovered by the Catalan Art Nouveau movement, as are other applied arts (wrought iron, ceramics, etc.) which, due to Arts & Crafts, a trend born in England, spread throughout Europe.

The building has two parts: one, the higher part, located on the corner of the two streets, continuing down Sant Nicolau; it has a ground floor and two upper floors and ends with a roof terrace; while the other part, located on the street, has a ground floor and one upper floor and corresponds to the part of the building that has been successively extended. The complex generally has a castle-like appearance and, above all, an upward feel given by the axes of the openings. The importance of this construction is due to the use of brick as the sole structural and decorative element. The openings, angles, battlements, arches and lintels are all built with brick, taking advantage of all its expressive possibilities, reminiscent of the ‘Neo-Mudéjar’ style. It can be said that the architect was very familiar with Puig i Cadafalch's ‘Casarramona’ factory, designed a few years earlier. The forms used, the upward movement combined with the location, give the building a sought-after and forced sumptuousness and monumentality that was echoed in popular culture, which called it ‘the cathedral of the whites’. This building was the first large tanning industry to be built in Igualada.