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]

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.

Halfway between the colony and the urban factory, Can Remisa featured housing, a chapel, a company store, an inn and a small school. Throughout the 1880s, the Rusiñol family expanded the colony and built an imposing manor named Cau Faluga by Santiago Rusiñol, a true gem of industrial modernism. The walled complex, situated between the river and the cultivated fields, is dominated by the chimney—a cylindrical tower over 40 meters tall—and the imposing owners' manor, a building that displays eclectic features, blending romantic and modernist architecture. In several parts of the colony, modernist elements can be found, such as lampposts with wrought-iron detailing, although the colony itself belongs to the pre-modernist style. It is enclosed by a wall made of river stones and cement. The colony was organised linearly, with factory buildings ready for expansion. Parallel to these, the workers' homes and the owner's residence—used seasonally—were located. The colony was also structured around a large open space, which included an intriguing two-storey building for the owners, a single-storey work nave with an unfinished central section intended for expansion, and two housing blocks for the workers.

Can Ricart, dating from 1854, is one of the first mechanical stamping factories for cotton fabrics in Catalonia. It is located next to the central park and faces the industrial axis of Pere IV, together with Oliva Artés, Ca l’Alier, la Escocesa, and Ca l’Illa. The complex is made up of several neoclassical buildings and a series of green spaces that connect them to each other. Its interest lies in the unitary style of the pieces that make it up; that is to say, in the analogy of their shapes, rhythms and spatial arrangements.

Chimney of a former spinning mill also known as the l'Aranya factory. It is cone-shaped, has scaffolding in patterned brick and is finished in circular section mouldings that reinforce the crowning element. 1862.- construction of the factory. 1863.- it starts operating.

The Borràs colony was created in 1876 by the Oleguer Borràs i Castelltort family and Ignàsia Pons, next to the Llobregat river; in that year, both the two factories and the workers' housing had already been built. In 1877, the first factory was leased to Josep Salgot and, shortly afterwards, the second to the brothers Frederic and Jaume Ricart. The neighbourhood was built next door, which initially had two groups of houses corresponding to each of the factories. In 1900, the Cape's house had already been built, which later became known as Torre del Amo. A school for nuns was built later on, and in 1922 the Casino del Borràs was inaugurated.

The Pelut Textile Colony, also known as the Conangle Colony, SAY Colony or Ymbern Colony - the surname of the family under which the factory complex operated for more than seventy years - is one of the large colonies in the Ges Valley, including La Mambla, Borgonyà, Vila-seca and La Coromina. El Pelut is one of the most unified complexes, a product of the industrialisation of the river Ter, made up of the following elements: the factory and the canal, the tenants‘ and managers’ dwellings, the gardens and the access bridge. The current appearance of the colony is the result of the constructions carried out during the first third of the 20th century, promoted by the Calvet brothers and completed by the Ymbern family. It is accessed via a stone bridge that crosses the river. The layout of the industrial buildings - built in choreographed stone in the Art Nouveau style - forms a square. The workers' dwellings, as well as the shops, laundries and sports fields, the adjoining farm and, above all, the magnificent gardens, designed by Nicolau M. Rubió i Tudurí, make it a unique example of an industrial colony in Catalonia. It should be noted that the industrial complex was left unfinished following the premature death of Eduard Calvet and that the original project would have been much more ambitious than what was finally carried out. Probably under the orders of the architect Riera - strongly influenced by the school of Gaudí - the industrial buildings were built. It is a group of 18 dwellings divided by the inn building, which would function as an occasional grocery shop and residence for the assemblers passing through the colony, a rear area with laundry rooms, a courtyard and vegetable gardens, a space for a summer dance hall and a landscaped area with sports courts. The construction of a commissary, a café-casino, a school and another group of dwellings was not completed. Workers' housing: a group of 18 dwellings in the form of a block between party walls with a ground floor and two storeys, with a backyard and laundry rooms located in the north of the colony. They have openings decorated with exposed brickwork and exposed pebbles. They have a double-sloped Romanesque roof with a ridge parallel to the façade and gables open to the façade. The ensemble has a Catalan Art Nouveau-noucentista appearance with all the features of the period: traditional materials, decorative brickwork and a predominance of the full façade over the recess in the composition of the façades. In the central space of this complex, the façade of what used to be the old inn-grocery shop stands out, which was a building of considerably larger dimensions than the rest. The remaining buildings housed several families per floor. They are currently empty and in a considerable state of ruin. Managers‘ dwellings: a group of 4 dwellings in the form of a block between partitions with a ground floor and two floors, with a rear courtyard located between the block of workers’ buildings and the factory. It has biformed and triforated openings decorated with exposed brickwork and exposed river pebbles. The roof has a Roman tile gable roof with a ridge parallel to the façade and gables open to the façade. The complex has a modernist-noucentist appearance with all the features of the period: traditional materials, decorative exposed brickwork and a predominance of the full over the empty in the composition of the façades. Factory: a complex made up of six different naves enclosing a large inner courtyard. These naves are of exposed brickwork and have a gable roof with Roman tiles and a ridge perpendicular to the façade. The south and southeast aisles have semicircular windows that provide ample light. Originally, there were no naves on the north side of the courtyard; this sector is where the directors' houses are located. Two of the halls have cellars lit through an English courtyard. Today, the factory is operated by two companies and a large hall has been built in the former central courtyard. Canal: 200 m long canal made of retaining walls of boulders and cement. On the side separating the canal wall and the river, there is an area with poplar trees. On the other side, there is a stone railing from which the canal, the lock and the river can be seen. The canal is just over 9 m wide. It has two sluice gates: the sluice house and a bottom discharge gate, a few metres from the first one. It channels the water towards the southern nave, where the turbine is located. Gardens: located to the east of the factory and the managers‘ houses and below (southeast) the workers’ houses, they border the canal on the south side. They occupy what should originally have been the central space of the colony. They are romantic gardens with a geometric layout and pedestrian paths, designed by the master builder Josep Maria Riera and Nicolás Rubió i Tudrí. They feature both native and imported plant species. The space between the gardens and the factory was originally a sports area made up of two football pitches and a tennis court. Elements of the original lighting system are also preserved, such as street lamps from the 1920s and 1930s. The gardens are currently abandoned and in a precarious state of conservation. Access bridge: This 85-metre-long bridge is very beautifully made and monumental in appearance, especially the entrance arch, built with blocks of crushed stone, which forms an ensemble of perfect architectural lines. It has six semicircular arches of 14 m each, framed in brick. On both sides there is a railing in the same style as the canal railing. The paving is asphalt and there are pavements on both sides. In 1920, work began on a stone bridge under the patronage of the Calvet house. It is the only bridge in the whole of the Torell sector that withstood the 1940 downpour, but the abutments on the north side were damaged when they were dislodged and were repaired by the Ymbern company. Until the Borgonyà bridge was built in 1957, all the traffic between Torelló and the Pyrenean regions had to necessarily pass over this site. The origins of the Ymbern settlement can be traced back to an establishment that worked there in 1859, when the businessman Joan Camps set up a leather tannery (which is why it is known as El Pelut). Years later, it changed its use for the production of cotton spinning. In 1879, it changed ownership to Valentín Fath, who also founded the colony of La Mambla. In 1882, Fath entered into a partnership with the manufacturer Vehil. In 1889 it suffered a serious fire that completely destroyed it. Between 1893 and 1904 it passed into the hands of Lluís Madirolas, who resumed production by rebuilding the burnt parts. In 1905, the factory passed into the hands of the Calvet brothers, who gave the factory its current appearance. The project came to a halt in 1917. In 1930, the Ymbern family modernised the colony by replacing the old turbine with an alternator. In 1935, it was decided not to continue with the previous project to extend the colony, reducing the elements to the factory complex, the 18 dwellings, including an inn-grocery shop, a block of 4 managerial buildings, the colony gardens and the access bridge from Torelló.

The old ceramic factory in Pujol i Bausis, popularly known as "La Rajoleta", was one of the most important centres of industrial ceramic production in Catalonia. It is located between Carrer de l’Església and Passatge del Puig d'Ossa, in the city centre of Esplugues de Llobregat. This industry began its activity in the last quarter of the 19th century, although its industrial antecedent began its activity in the middle of the 19th century. The culminating moment of its manufacturing activity came at the end of the 19th century during the modernist era with the commissions of prominent architects of this artistic movement such as: Gaudí, Domènech i Montaner or Puig i Cadafalch. The factory ended its activity in 1984 and then the city council acquired the property. Several buildings were demolished and archaeological surveys were carried out which allowed the underground spaces to be discovered and documented, such as the large underground oven, which is, 20 m long, or the six Arab-type ovens (ca. 1887). The large 22-metre-high brick chimney located at the southern end of the plot and the two large bottle ovens also made of brick remain standing. These last bottle kilns, named because of their shape, were built between 1913 and 1914 to bake stoneware and porcelain, in the context of a remodelling of the factory under the direction of its owner, Pau Pujol. With a circular base, they are formed by a cylindrical section covered by a conical section topped by a chimney. They are made of brick reinforced with a steel mesh made of iron rings and strips to prevent expansion of the facing during the firing of the pieces. Several semicircular arched openings at the base. The industrial antecedent of the Pujol i Bausis ceramics factory dates back to 1858, when two French businessmen built a mill on this land owned by the Pujol family. In 1876 the factory was acquired by Jaume Pujol i Bausis, who remodeled it in the 1880s to manufacture ceramics, and since then it has been known as "La Rajoleta". Its heyday corresponds to the period of modernism, during which the main architects of this artistic movement commissioned work at the factory. In 1901, Joan Baptista Alòs, renowned ceramic designer and teacher at several arts and crafts schools, began working there as artistic director. After the Spanish Civil War (1936-1939), the factory became a limited company, it stopped manufacturing ceramic tiles and started manufacturing high voltage insulators for the electricity companies. Finally, its activity ended in 1984 and the city council acquired the property. After several archaeological prospecting campaigns, in 2002, the La Rajoleta Ceramics Museum was inaugurated in a newly constructed space located in the centre of the old industrial site.