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]

Fàbrica coneguda com el "Vapor Nou", data de l'any 1897 i esdevé un exemple molt característic de la indústria tèxtil cotonera. Formada per dues grans naus longitudinals de dues plantes d'alçada, amb grans obertures exteriors sobre les quals descansen uns arcs escarsers coberts d'estuc vermell a fi i efecte de donar una nota de color i aconseguir la dinamització del conjunt. Destaca la gran xemeneia construïda amb totxo cuit i que presideix majestuosament tot el conjunt. En Joan Boyer i Ferrer era propietari d'una fàbrica tèxtil a mitjans del s. XIX. Arran de l'arribada del tren a Igualada, que permeté portar carbó i així utilitzar la màquina de vapor, traslladà la fàbrica l'any 1897 a la zona del Rec. El 1910 es fa una ampliació en el mateix carrer del Rec. El 1978-79 es tancà aquesta indústria. El 1981 aquest edifici el comprà l'ajuntament d'Igualada per instal·lar-hi el Museu Comarcal.

L'edifici del Mercantil pertany a un estil eclèctic. La façana la podem dividir en cinc parts: en la central, més avançada, és on trobem l'entrada principal; en la part alta hi ha el nom de l'entitat i en el centre l'any de la seva fundació; una galeria coberta uneix els dos cossos extrems amb el central. Els elements decoratius són els esgrafiats, col·locats en els timpans de les dues obertures que flanquegen l'edifici, i la ceràmica de reflexes metàl·lics a mode de fris. De l'interior cal destacar el teatre; entrant trobem l'amfiteatre de platea, després la platea voltada lateralment per llotges. Els primer pis té una zona central amb butaques i dues de laterals amb grades. Tot voltat per un jardí molt ben cuidat. El "Centro Mercantil, Industrial y Agrícola" havia estat fundat l'any 1899 com a conseqüència d'una desavinença entre diversos membres de l'antic "Casino de Recreo", uns, partidaris dels "Godó" i els altres, dels "Boyer". El local social de l'entitat va ésser edificat en el solar on antigament hi havia hagut el teatre Tívoli, i la seva inauguració coincidí amb el dia de la Festa Major de l'any 1899. El Cercle Mercantil celebrà el seu cinquantenari l'any 1949. Conté un teatre, un saló-café, una sala de festes i un jardí. Construït seguint un projecte de l'arquitecte Francesc de B. Galtés; dirigides les obres per Francesc Sellés; la decoració a càrrec de Frederic Brunet i la pintura pe Bartomeu Camps i Antoni Tomàs.

Edifici destinat a planta baixa comercial i quatre plantes d'habitatges. El seu interès es troba en la composició de la façana que és una interpretació lliure dels elements racionalistes. Destaca el tractament molt pla de la façana -trencat només pel balcó corregut de la primera planta- en la que la verticalitat que li donen les tres franges i les finestres allargades dels extrems queda compensada per l'horitzontalitat de la finestra central. Horitzontalitat que queda remarcada pel tractament de les baranes i l'especejament dels vidres (especialment la franja de vidre glaçat). La finestra està rematada per una sòbria cornisa. A la planta baixa, actualment transformada, hi havia una botiga i un vestíbul que eren la màxima expressió del racionalisme igualadí. 19-04-1939 Projecte de remodelació de l'edifici afectat pel bombardeig de la Guerra Civil. 31-12-1939 Permís de llicència per construir de nou la façana, fa obres a l'interior de les plantes i n'aixequen una de més. Promotor: Ignasi Castelltort i Llambès. 1972 Reforma de la façana de la botiga i de la planta baixa (vestíbul) amb la qual cosa els valors racionalistes es perden. 1994 Remodelació total a la botiga

Edifici de tres plantes construït amb carreus de pedra, on destaca la decoració de la façana feta a base dels propis elements estructurals de l'edifici, com són les dues portes d'entrada a la planta baixa, sustentades sobre dos pilars amb capitells decorats amb motius heràldics i florals, i les finestres, així com la sanefa que cobreix la part més alta de l'edifici. Obra promoguda per el Sr. Magí Castellfort i Llambés, comerciant.

Edifici d'estatges de quatre pisos d'alçada. Destaca la verticalitat que agafa la composició en sentit ascendent. A la part alta de totes les finestres es col·loquen els elements ornamentals amb uns acabaments en forma de capitells de temàtica floral. També és remarcable la decoració de la porta principal amb dos cercles fets de pedra que agafen la sinuositat dels típics "cops de fuet" del modernisme. L'acabament de l'edifici està fet amb totxo cuit i forma una petita balustrada. A la façana exterior es pot veure també una petita capelleta adossada al mur, col·locada a sis metres d'alçada i dedicada a un sant d'antiga devoció per part dels membres de les famílies ocupants (Verge de Montserrat). A l'entrada hi ha un sostre pintat d'estil modernista, amb una disposició asimètrica de tipus florals.

The building has a symmetrical composition with two axes of parallel openings. On the ground floor, ashlar masonry is used; here, we find segmental arches with large springers that contrast with the lintels on the first floor and with the stepped battlements that crown the building. The openings on the first floors are lintelled and the upper part has a stepped breakwater, which, with wide mouldings, seems to imprison Gothic-style floral reliefs that surround some ceramics with metallic reflections. In the centre of the façade we see the initials of the owner. Thus, the sinuous forms of the ground and third floors alternate with the rectilinear forms of the first and first floors and the battlements at the end. This is the first building in Igualdada with an overall Catalan Art Nouveau structure. Promoter of the work: Francesc Valls Brufau, weaver.

The façade of this building is decorated with floral ornamentation in the form of a garland above the openings. The importance of this façade lies in its finials (now disappeared) as well as in the rampant arch with a lateral opening on the ground floor. A. Cirici Pellicer comments on the strong influence exerted in this case by Puig i Cadafalch. The wrought-iron railings on the balconies and a small tribune on the first floor are noteworthy. The façade of this building reflects the two currents of Catalan Art Nouveau: neo-Gothic and decorativism. It was built with poor materials, but even so, the wrought ironwork on the first floor and the arch and column on the ground floor stand out. Owner and promoter of the work: Josep Ferrer i Llopart.

Arranjament de façana d'estil modernista. Està decorada amb esgrafiats que omplen els espais entre els balcons. És un esgrafiat floral de composició simètrica basada en el tema dels lliris. Les flors són pintades de color de foc i els fons és clar (a l'inrevés dels esgrafiats tradicionals catalans). També destaquen les portes d'entrada i el sostre de l'entrada amb decoració floral. L'acabament de façana es trenca amb una barana balustrada de falsa pedra també de tema florals. És de planta baixa i dos pisos. El propietari i promotor de l'obra va ser Llorens Farrer.

The façade of this building has a symmetrical composition determined by the openings. It is particularly notable for the ornamental elements that crown it. These are the balustrade railing on the roof, with a floral theme, and the mouldings, which end in the form of pinnacles. Also noteworthy is the wooden entrance door with asymmetrical floral decoration with a certain Japanese influence. The same applies to the balcony railings, which also have undulating forms. The ground floor has a more austere treatment than the rest of the façade. Owner and promoter of the work: Pere Massagué i Esteve, merchant and tanner.

The composition is limited by the parallel axes of the openings. The decorative system is based on the shapes used in the openings and the materials used in them. Thus we see how the architect has used the sharp arch and ashlar on the ground floor, while on the first floor and the other floors he has used exposed brick and green ceramic. The most important element of this building is the barbican, also made of brick, which crowns the building. Promoter of the work: Joan Balcells i Gubern, tanner.

The most outstanding feature of this building is the façade, where we find the elements that were to be repeated almost invariably in all the buildings of its author, the architect Isidre Gili i Moncunill. Thus we find floral ornamentation on the lintels and jambs of the openings, based on reliefs, ceramics with metallic reflections and decorated tiles, as well as the use of ashlar on the ground floor, and wrought ironwork. Promoter of the work: Franciscano Sisteré i Gabarró.

Ground floor and two-storey building with a façade divided into three horizontal and two clearly differentiated vertical strips. The ground floor, divided into a semi-basement and mezzanine, is highly ornamented. It has three pilasters crowned by capitals with vegetal elements and small volutes. On the first floor there is a tribune, also highly ornamented with interesting glass and iron elements on the railings. On the top we can see elements of chevron and vegetal garlands.

House with ground floor and two landings. The façade is highly ornamented. The thresholds of the doorways are well worked with stone and the upper floors are ornamented with plant motifs, stucco and relief. The façade is crowned by a pediment and plaster mouldings with a plant theme. The work was promoted by Francesc Casadesús i Ros, a doctor.

Building between partitions with neoclassical elements and a grandstand which, although it is at the back, is fully integrated into the building. Building between partitions with façades on the Rambla and Carrer de Sant Cristòfol. The main façade, with an eclectic style that mixes neoclassical elements with others closer to the Catalan Art Nouveau style prevailing at the time of the project (especially floral elements, garlands, lintels, sgraffito, wrought iron railings, etc.), is now very much modified by the tribune located on the first floor, which acts as a terrace on the first floor, built later. The wrought ironwork of the balcony railings is different from that which appears in the project. The rear façade is arranged along five axes, marked by the openings, and with a cornice and balustrade at the top that reflects the turn of the alignment of the street. Above the entrance door, on the boulevard, there is the medallion with the initials of the owner (J.G.).

Edifici d'estil modernista on el més interessants és la majòlica que trobem a la façana amb el nom de l'empresa "Hispano Igualadina". És important de destacar el color de la façana en la qual l'arquitecte juga principalment amb el blanc de l'estucat del fons i el vermell del totxo amb una composició d'estructura força amanerada, i la cornisa de coronament que amaga la teulada a dues vessants.

En l'estructura general de la façana podem apreciar unes clares diferencies entre la primera i la resta de les plantes (segona i tercera) en el que fa referència als balcons i finestres. Si bé en les dues plantes superiors són allargats i amb balcó volat, en la primera i degut a la manca d'alçada i a l'estret del carrer , fa que l'arquitecte busqui unes solucions diferents. L'alçada és resolta amb una finestra-balcó i l'estret del carrer, que representa una insuficiència de llum amb un eixamplament de les finestres incorporat a la part central dues parts més estretes a una i altra banda, separades del cos central per una petita columna. Per les decoracions en la façana(capitells, dintells) i per la decoració amb temes animalístics de l'interior de les escales, de l'edifici és digne d'interès i consideració.(...) Propietari promotor de l'obra: Ramon Vives Maixenchs, adober.

The façade features floral sgraffito covering the last two floors. The motif is a fleur-de-lis surrounded by curved lines with foliage. In addition to this decoration, the building also has doors decorated with asymmetrical pseudo-floral borders and sgraffito on the entrance plinth. The staircase railing is also decorated, creating a rather remarkable ensemble. The wrought ironwork on the balconies and rooftop railings is also noteworthy. Developer: Aleix Gabarró, merchant.

The building leans towards Gothic design. The openings, made with exposed stonework protruding from the plastered façade, play an important role. It is in these openings where we find the Gothic elements in relief. The building is crowned with a stepped lintel on the main façade and a railing with Gothic-floral cloisters on the sides. The wrought iron work on the grilles and the openwork artificial stone railing on the roof are particularly noteworthy. The overall composition is symmetrical and lacks polychromy. Developer of the work: Mariano Ratés, grain merchant.

Located north of the old town, the Institute and its facilities occupy an entire block, enclosed by a solid hedge wall and pillars of bush-hammered ashlars with a worked brick cornice, which serves as the base for an iron railing decorated with iron basket panels. The large main building is U-shaped, with tiled roofs, enclosing a protected space with a skylight. It has three floors, each with a different façade, although symmetry is maintained: the ground floor, with a stone plinth and stuccoed upper section, with a frieze of semicircular arched windows; the central section, separated by prominent brick string courses, with another exposed brick frieze and vertical rectangular windows; and the upper section, with stuccoed walls, where the smaller windows are grouped in threes in semicircular arches. The main doorway, with a round arch, is located in a central section facing Carretera de Manresa, and is emphasised by a balcony above, with a curved balustrade and a round vault as a dust cover, and a gabled gable with a central oculus crowned by a wavy cornice. Above the balcony is a coat of arms of Igualada flanked by two children, the work of the sculptor and sgraffito artist Ferran Serra (Ferdinandus Serra). Jaume Garcia Fossas was a playing card manufacturer in Igualada alongside his brother Artur. Both provided financial assistance for the construction of the Conservatory of Music, the Ateneu Igualadí School and the Secondary School building (now the Àuria School), which bore their surnames. Mr Artur Garcia-Fossas bought some land in 1927 to build the Igualada Orphanage. The building cost around 300,000 pesetas and was designed by the architect Bonaventura Bassegoda i Amigó, with Pere Vilarrúbies as the contractor. However, the building was never used for its intended purpose and ended up becoming a primary school, which is still in operation today under the name CEIP Garcia Fossas. Construction of the building began in 1932 and was completed in May 1937. The outbreak of the Spanish Civil War meant that it did not open until years later, but it was finally inaugurated on 3 May 1941. During the war, the building was used as a hospital and an air-raid shelter was built, which is still preserved today. The building has three floors, the first of which was used for teaching boys (with male teachers). The second floor was used for teaching girls, with female teachers. Over time, it has also had other complementary uses: the Igualada Museum and the Leather Museum. Currently, apart from the CEIP, there is also the La Lluna nursery and the Anoia CRP.

A Noucentista-style cake shop that still retains its original decorative elements despite the remodelling of the ground floor façade. It is a two-storey building with a very simple design, dominated by straight lines that accentuate the verticality of the building. The total break between the two floors and the ground floor façade stands out, with two large openings with segmental arches indicating that this is a commercial establishment.

A building currently with a partition, a ground floor, mezzanine and first floor, as well as a rooftop. It has an almost symmetrical façade which is only altered by the modification of one of the ground floor doors. This is very low and visually forms a single floor with a mezzanine – a fact that is reinforced by the continuous balcony on the first floor. The façade is organised around three axes corresponding to the three openings on the ground floor (which become four on the first floor) with the central axis reinforced by the entrance door, at two levels, and by the corbels that support the central part of the continuous balcony. Interesting roof railing formed by a balustrade highlighted by two vases.

Compositionally, the building is divided into three parts: a central, wider one, which is flanked by two protruding parts, both in depth and in height. The building is crowned by stepped battlements, very typical of this author, and which remind us of the influence of Puig i Cadafalch's Macaya House. Brick is also used in the barbican – a construction method that is very characteristic of this architect. The barbican on the window in the living room and on the entrance door are also noteworthy. Promoter of the work: Nicolau Poncell i Sitges, typographer.