Edifici d'habitatges de planta baixa i quatre pisos, amb cornisa i terrat. La façana principal a la Baixada de la Seu està ordenada simètricament segons tres eixos verticals que corresponen als tres portals de planta baixa. Tipologia clàssica amb entresòl, principal i dos pisos, la diferenciació social dels quals ve marcada per la importància dels balcons: a l'entresòl, baranes a pla de façana; a la planta principal, balconada, i a la resta, balcons individuals decreixents en alçada. Té pilastres de separació dels balcons, quasi planes, rematades amb capitells jònics. Cornisa amb permòdols i imbricacions. La façana al carrer del Bisbe és plana, amb escasses obertures.

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.

Located to the southeast of the centre of Sant Salvador de Guardiola, near the new Brunet House. The Brunet tower was a military optical telegraphy tower. The building has the classic typology of this type of construction. It was square in plan and had a rectangular defensive body attached to the north face, and was surrounded by a moat. In elevation, it consisted of a slightly embattled ground floor with four loopholes on each side, an upper floor with loopholes and windows, and finally a roof terrace (partially in ruins). The entrance door opened at the height of the first floor on the south side, probably accessed by means of a wooden staircase that was kept inside. The walls are made of rusticated stone masonry and the division between the floors is marked by a protruding profile. The Brunet tower was part of the Barcelona-Manresa-Solsona military optical telegraphy line. This line shared the first seven telegraph towers with the Barcelona-Lérida line. Thus, the line began at the tower of Montjuïc Castle and continued to the tower of Can Maçana or La Guardia, in the village of El Bruc. It then turned north towards the Brunet tower. The Brunet tower, 420 m high, had a direct line of sight to the previous tower of Can Maçana del Bruc, located 7.4 km away to the south. The rear tower was Puigterrà de Manresa, 6.8 km to the north (no longer standing). The later tower preserved in the latter is that of Sant Martí de Torroella in Sant Joan de Vilatorrada. The Brunet tower was part of the Barcelona-Manresa-Solsona military optical telegraphy line. Optical telegraphy is a system based on a series of signals made at a high point, such as a tower or a bell tower, by an operator, which another operator sees from another point, communicated visually, and repeats it; in this way a message can be transmitted quickly from one point to another on the line. There were various ways of making the signals, such as a tall wooden pole with two crossbeams at the ends which, operated by pulleys, could change position – each position was a letter or key which, thanks to a book of keys, could be deciphered. The operators had long-sighted glasses that allowed the distance between the different points to be greater than if they did not have them. While in countries such as France and England optical telegraphy lines had already been built at the end of the 18th century, in Spain construction did not begin until 1844, by which time electric telegraphy had already begun to be used in some countries. The creation of a line involved the installation of communication systems on existing high points or the construction of towers in places where the distance was too great. In Catalonia, the first line came from Valencia and reached La Jonquera via Barcelona. During the Second Carlist War (1846-1849), the Marquis of Duero, Captain General of Catalonia, commissioned the development of an important military fixed optical telegraphy network. Six lines were created, including the Manresa - Vic - Girona line. In 1853, the first electric telegraphy line was built between Madrid and Irún, which marked the beginning of the abandonment of optical telegraphy and the disuse of the towers built for this purpose. In 1857, the civil telegraphy towers were dismantled and abandoned, and in 1862 the military towers were officially abandoned. This marked the end of the short history of optical telegraphy in Catalonia, but which left the telegraph towers as a witness.

Façana monumental amb la porta principal decorada amb pilastres i gran cornisa, sota la qual hi ha un fris amb un baix relleu que representa Jesús pujant al Calvari. Les parets laterals a dita porta estan decorades amb grans làpides. A l'interior, la porta reprodueix la façana d'un temple grec amb dues columnes de capitells dòrics i frontó triangular. A cada banda es desenvolupa un corredor amb columnes clàssiques (12 a cada costat) d'ordre toscà, fins a trobar l'església. En aquests corredors hi ha practicats els nínxols, alguns de gran valor artístic. Dins el recinte tancat pels pòrtics i l'entrada estant disseminats de manera ordenada els panteons i sepulcres familiars, alguns d'ells veritables obres d'arquitectura i escultura de gran qualitat que fan del conjunt un atractiu mostrari dels estils de finals del XIX i començaments del XX. Cal destacar: el sepulcre de la família Portabella i Argullol, construït per l'arquitecte Bernat Pejoan i l'escultor Josep Llimona; el panteó de la família Serra i Santamans, d'estil neoromànic, i el de la família Borràs, d'estil neogòtic. La capella del cementiri és de composició i formalització clàssiques, molt adient al conjunt de la façana exterior-interior. Projecte de l'edifici del 1846.

Former textile factory with several warehouses, chimneys, an aqueduct, houses for the workers and a church with a school. They are simple and functional stone and brick constructions with gable roofs. The preserved chimneys have various shapes, from rectangular to helical. The 1400 HP Turbine Planas is preserved. The Sedó Colony was founded in 1846 by Miquel Puig i Catasús, who built a textile factory o an old flour mill that already existed ("Can Broquetes"). It would grow rapidly until it adopted the characteristics of an industrial colony and, finally, in the 20th century, it would become one of the largest and most important companies in the economic and industrial history of Catalonia. After the death of Miquel Puig (1863), he was replaced by his son, Josep Puig i Llagostera, who started the construction of houses for the workers, expanded the factory and planned various development works. His administrator and substitute, Antoni Sedó i Pàmies, was who would culminate the process of growth and formation of the industrial colony that would bear his name and who developed the entire textile production process. At the same time, he enlarged the workers' colony with new housing for the workers and their families, with the installation of shops, schools, the church, a dispensary, cinema and casino, among others. The workers' colony was located right next to the factory and was structured in elongated blocks of ground-floor and two-storey houses that formed seven parallel streets. In the middle of these parallel streets was the church and, on either side, the schools. After the Spanish Civil War of 1936-1939, the colony reached its maximum growth, but, at the same time, the first symptoms of crisis would begin. Currently, the Sedó colony has been converted into an important industrial estate where there are different companies and industrial activities. The central core of the Sedó Colony Museum is located in one of these industrial spaces.

Passatge Bacardí, located in the Ciutat Vella district, is a covered walkway, suitable exclusively for pedestrians, which links the Rambla, at number 42, with the Plaça Reial. This passageway was built in the mid-19th century next to the building constructed at numbers 40-42 of the Rambla for Ramon de Bacardí, making it one of the first covered walkways in the city. Access to the passageway from the Rambla is through a doorway with a semicircular arch. The doorway is flanked by two low pilasters that rise up to the height of the beginning of the arch. At this height there are two imposts from which the pilasters rise again until they reach the corbels of the balcony located just above the entrance to the passageway. The door can be closed by means of a wrought-iron grille, the arch part of which is fixed and decorated with radial geometric motifs emerging from a central medallion with the letter ‘R’ and, below it, the year ‘1856’. The doorway has two leaves with austere vertical bars. Access from the Plaça Reial is through a similar doorway, although it is somewhat less elaborate. Once inside the passageway, it has two different sections with different roofs. The section closest to the Rambla is covered at the height of the ceiling of the mezzanine by a beam parallel to the street that supports the upper building; on the other hand, the half closest to the Plaça Reial is covered by a glass roof that gives light to the whole space. The ground floors and windows of the mezzanines located on both sides along the passageway have a uniformity that gives coherence to the whole. All the shop doors and the mezzanine window above them follow a pattern that is repeated throughout the space. Each commercial opening and the mezzanine window are flanked by pilasters with a shaft with a larger volume than the rest of the element, a shaft with a vertically grooved lower section and a plain upper section with a single rectangle in relief, crowned by an Ionic capital. At this height, two sculptures of children support the dust-covering that covers the window. Between the window and the lower door is the space where the name of the shop was originally placed. The window railings are made of wrought iron. One of the most remarkable elements of this passageway is the gallery that crosses it parallel to the street at mid-height. It is made of an iron structure with elaborate corbels and it is completely glazed.