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1839
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1836 - 1840
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Sedó Colony
autoria desconeguda
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.1846
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1854
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1864
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1870
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1874
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El Guixaró Colony
autoria desconeguda
The name of Guixaró is associated with the country house known as Casa Gran del Guixaró. The toponym is known from a 17th-century document. The heiress of this house married Francesc Guixaró, and since 1627, the house became known as Casamitjana i Guixaró. In the 19th century, due to family disputes and inheritance issues, the Guixaró family sold the house and lands to Miquel Vilanova i Marsinyach, the heir of the country house of Sierra de Cabo de Costa in Puig-reig. In 1877, he commissioned an engineer to conduct a technical study for the construction of a sluice and a canal. In 1879, Esteve Comelles i Cluet, from Berga, purchased part of the country house lands to build a cotton spinning and weaving factory. The factory was built between 1888 and 1889, and the old wooden sluice, with a small diversion canal, was built in 1895. From the outset, the factory was equipped with a turbine to transform water power into mechanical energy to drive the machinery and a steam engine to provide supplementary power during drought periods and fluctuations in the river's flow. Mr. Comelles did not limit himself to building a factory. These were the days of industrial colonies, and alongside the Guixaró factory, housing for workers and a range of services and facilities were built so that workers could have everything they needed within the colony. Another building constructed as a "service" for the workers was the church. Historically, the Guixaró church was located next to the factory, as was the director’s house. Today, a small chapel remains in the old school building. Until about thirty years ago, since the origin of the colonies, religion and the priest played a crucial role in the social order and daily life. The priest coordinated social and festive activities, acted as the owner’s vigilant eye in the colony, and spread the message that the owner was like a father to the workers, a protective figure who provided them with jobs, food, housing and services. In 1902, Esteve Comelles, the colony’s founder, died, and the colony passed to his children. In 1917, the Comelles family sold it to Joan Prat Sellés from Manresa, who, along with his partners, sold it in 1929 to Marc Viladomiu i Santmartí, the owner of Viladomiu Nou. At this point, the colony experienced a resurgence: a road was built connecting Guixaró with Viladomiu Nou, worker housing was expanded with galleries for bathrooms and laundries, a new school was inaugurated in 1932 along with a football field, and by 1935, electricity and potable water were introduced. After the Civil War, new services and facilities continued to appear: a new sluice and canal in 1942, a nursery in 1946, a library in 1948, a theatre in 1949 and new apartments in 1953. The factory’s electrical system was consolidated, and the industrial space expanded between 1948 and 1950. These improvements helped the colony gradually overcome the hardships of the post-war years. By the 1970s, signs of crisis and the decline of the textile sector and the industrial colony model became more apparent. The colony began to lose population, and traditional services such as the school and shop closed. The factory ultimately shut down in the late 1980s. After the factory closed, the resident workers were given the option to purchase their homes. Today, around forty people live permanently in Guixaró, and the factory has once again resumed industrial activity.1879
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1876 - 1880
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L'Ametlla de Casserres Colony
autoria desconeguda
The Almendra de Casserres Colony, also known as the Monegal Colony, is one of the many river-based textile colonies that emerged in Catalonia during the 19th century, particularly along the River Llobregat, to harness the power of water as an energy source. It is located at the northeastern edge of the municipality of Casserres, on the right bank of the Llobregat, but close to the town of Gironella — which explains why most social and commercial relations were established with Gironella rather than with Casserres. One of the region’s main droving routes once passed through this area. The colony can be divided into three parts or levels. In the lower level, the main section of the colony, are found the weir and its canal, the factory with its warehouses, workshops, and housing for managers and workers, arranged around the main street, together with the bridge, the Quera fountain, and the gates that once closed off the colony. An iron bridge, built by La Maquinista Terrestre y Marítima, replaced an earlier wooden footbridge, although it was later swept away by flooding of the Llobregat. The middle level is structured around the upper street, where the church, convent, former priest’s house, a public washhouse, and a water tank are located. Finally, in the highest section stands the old farmhouse of L’Ametlla, with its fountain, the new owners’ tower, and the Santa Rosa flats. The arrangement of these elements was not random but followed a deliberate and logical plan. The original nucleus was established beside the river, on the site of an old mill destroyed during the Peninsular War. There the first factory was built, together with the weir, canal, and bridge. The first workers’ dwellings were located above the factory itself. As the company grew, new storage buildings and housing were added along what is now Carrer de Dalt. The structures in this area were built using stone quarried locally during the levelling of the terrain. This period marked the first organised layout of the colony, with the church, convent, priest’s house, washhouse, and other communal facilities. The second expansion, to the south, included the Main Street and the central square, where the grocery shop, inn, director’s house, and foreman’s residence were located. At the highest point stands the Masia de l’Ametlla, the ancestral home of the colony’s first owners and of the surrounding fields. From this vantage point, the entire colony could be supervised. In the early twentieth century, the Owners’ Tower was built — a residence reflecting the tastes of the time and serving as an unmistakable symbol of power and authority. The Masia de l’Ametlla, named after its owners, was originally an agricultural estate that included the adjoining western fields. In 1814, Josep Comas i Ametlla settled in an old mill in the municipality of Puig-reig. A few years later (1834), the brothers Ramon, Josep and Joan were commissioned by the Gironella Town Council to rebuild the weir of the town mill. The family’s importance is evident in their links to several mills — l’Ametlla de Casserres, l’Ametlla de Merola, Gironella, and Puig-reig — all of which took their name from them. The first textile workshops were installed in the mill under the patronage of Tomàs Bach of Berga. In 1858, Esteve Monegal purchased the factory and began the colony’s expansion. In 1873, he applied for permission to build a new weir to modernise production and increase profitability. The permit was granted in 1875, after which a new turbine was installed, the factory premises were enlarged, additional machinery was purchased, and more workers were hired. When Esteve Monegal died in 1879, his son Josep Monegal i Nogués continued the enterprise his father had begun. By 1900, the factory already had spinning and weaving sections and employed around three hundred workers. Taking advantage of the favourable conditions created by the First World War, the company expanded further, adopting the name “J. Monegal Nogués e Hijos”, before becoming a public limited company in 1925 under the name Textil Monegal, S.A. In 1966, amid the crisis in the textile sector, the factory closed down. With the end of production, the owners offered the workers the chance to purchase the homes they lived in, and most accepted the proposal. Josep Monegal Nogués, the colony’s chief driving force, was not only a cotton manufacturer and wholesale trader but also a member (1886–1890) and president (1902 and 1928) of the Barcelona Chamber of Commerce, Mayor of Barcelona (1902–03), Senator (1905 and 1907), and a life senator from 1908 onwards. The Monegal family were also founding members of the Caja de Pensiones.1893
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Ca l'Ordal
Francesc d'Assís Berenguer i Mestres, Joan Rubió i Bellver
Independent building made up of three terraced single-family houses, with ground floor, first floor, attic and basement converted into a garden at the back. Located in the residential area of Colònia Güell, it is the first building you see when you enter it. Work built around 1894, which, both due to the shape of its floor plan and the singularity of the façades and their symmetry, gives the building great originality. Although it does not have the typical appearance of a country house, it is noticeable how in one way or another the architect wanted to collect the most significant features of manor houses. For example, the building has a basilica floor plan and a gable roof, and the facing is made of stone conglomerate of various sizes bound with lime mortar, on which several structures are built. The marked historicist character of the building, beyond the appearance of a manor house at the front, is also reflected at the back with a construction on different levels and bodies. Undoubtedly, however, what stands out most about the building are the rounded corners, and the decorative elements, the filigree work with exposed brick is particularly relevant. This is visible in the windows, the three chimneys, the porch, the cistern or the eaves under the deck. The house was originally inhabited by the Ros de l'Ordal family, hence its name, and they are still the owners. However, other families such as the Cruañas, Gaudó, Montanès and Carrión have also lived there. All of them were farmers who worked the owner's land as tenants. Some members of these families also worked in the factory. In the interest of moving away from the existing social conflicts in the city, a new type of industry was proposed in the 19th century - the industrial colonies, i.e. the houses of the workers and equipment next to the factory, all in the same property, integrating its own nucleus with a social and economic life protected by the company. The Güell colony was an industrial colony dedicated to the manufacture of bread and velvet. Its construction began in 1890, and the project had an inn, school, shops, theatre, cooperative, doctor's house, pharmacy and chapel, in addition to factories and workers' homes, in a total area of about 160 hectares. Güell, in his capacity as a patron of culture, commissioned projects from several leading architects, such as Antoni Gaudí, Francesc Berenguer i Mestres or Joan Rubió. There used to be a well inside, but due to subsequent renovations to the building and new uses in the space, it has been modified.1894
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Catllaràs Chalet
The Catllaràs chalet is located in the mountain range of the same name above the Falgars sanctuary. This building was built to house the technicians of the coal mines that supplied fuel to the Clot del Moro cement factory. It seems that Eusebi Güell commissioned the design of the chalet from Antoni Gaudí. It was built between 1902 and 1903, at a time when work was also being done on Park Güell. It is a rectangular building with a ground floor, first floor and attic, covered by a catenary-shaped vault on the inside and pointed on the outside. The edge of the vault acts as the ridge of the roof. The interior space is divided into six apartments, two on each floor, with a central staircase built on the outside of the building. This was semicircular in plan and concentrically arranged. It was made of stone and formed a volume that stood out on the façade. Currently the staircase is in the same place but is a light iron structure. The slopes of the arches are part of the facades in which mansard-shaped windows open, covered with sloping and slightly pointed visors. The side walls that enclose the building have few openings. There are two chimneys, one that comes out of the roof - it collected the smoke from the stoves of the different homes and the other attached to a side that served to evacuate the smoke from a room on the ground floor. The interior of the building was very simple but it made the most of the space and sought comfort. On the ground floor there were, apart from the two homes, the kitchens and dining rooms. The space was reduced from the first to the third floor. The apartments had interior divisions, except for those on the third floor which is a single space. The staff was distributed according to job categories on the ground floor, with worse thermal insulation, which was occupied by maintenance and service personnel, managers on the middle floor and junior staff in the attic. Although there is no document to prove it, the Catllaràs chalet is attributed to Antoni Gaudí. The architect Viladevall in issue 35 of the magazine ‘Cortijos y rascacielos de Madrid’, dated June 5, 1946, explains that Domènec Sugranyes Gras, a collaborator of Gaudí, assured him that he was the author. This chalet was built as housing for technicians and other workers in the Catllaràs coal mines, which had a period of great activity, but finally the chalet was ceded to the City Council of La Pobla de Lillet. It is known that in 1907 the slope of the window visors was modified and the base of the building, initially covered with river pallets, was covered with cement. The villa suffered severe degradation and in 1971 renovations were made to adapt it as a summer camp.1902 - 1903
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Terrades House
The Casa de les Punxes occupies an entire irregular square bounded by Avenue Diagonal and Rosselló and Bruc Street. Therefore, in plan it is a trapezoid of almost triangular form with chamfers in the two corners that form the base of the triangle. Puig anchors the building to the ground, marking all the corners of the plot with circular towers, which stand out above the roofs. The volume of the house is Nordic-inspired, with gabled roofs parallel to the street (as opposed to Mediterranean architecture) that mark the various houses with which the building is formed. The tower that marks the corner of Rosselló Street and Diagonal Avenue is different from the others, taller and more ornate, in order to break the symmetry of the smaller front of the building and load it on Diagonal Avenue. The ensemble has a unit volume resulting from the aggregation of the small fragments in which the façades have been torn to pieces, of a more suitable size and compatible with the houses of the surrounding flats. Brick is the main material throughout the square, with stone details and ceramic mosaics. The wrought iron work is unique, and the details that make up the façade are as interesting as the building itself. The various façades formed by the succession of gabled roofs were composed by means of a very interesting set of openings arranged in even and odd numbers in groups of alternate floors (on one floor there are four windows and on the next one three, for example), a legacy of Puig i Cadafalch’s modernist formation, which, combined with its Nordic influences, forms the main vocabulary of one of the most beautiful buildings in the city. It is remarkable and singular due to the misalignment of the façades with respect to the street: the geometry of the towers arrives clean on the ground, without variation, and the gates are marked with porches with columns that also leave the line of façade fleeing from the flat façades, a characteristic feature of the architecture of the moment.1903 - 1905
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Torrents House
Residential building with three facades and a dividing wall. Historicist language. Four-storey mansion with circular towers at the corners. Central entrance with a hall that splits into two identical staircases. One of the towers is topped with a conical dome of ceramic scales and a gallery on the first floor. The façades are of regular and symmetrical composition, with an ordered arrangement of openings, alternating balconies and windows in a vertical layout. Balcony on the first floor and centred tribune. Open gallery on the upper floor and imbricated cornice. Recent restoration of the ground floor hall. 1906: project. 1908: construction.1906 - 1908
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1908
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La Fonda de la Colònia Güell
autoria desconeguda
Semi-rectangular building with a beveled end, located next to the BV-2002 road, right in front of the entrance to the Colònia Güell. It is a building that follows the aesthetics of many of the colony’s buildings, that is, ground floor and first floor with a gable roof covered with Arabic tiles. It is made of plastered brick, highlighting with exposed brick the corners, cornice and openings. On the ground floor we find the entrance door, defined by a pointed arch, on either side of which there are two twin windows topped with a pointed arch. In the chamfered corner there is a larger window, crowned with a pointed arch and canopy of the same shape. The distribution of openings is repeated on the first floor. Above the access door there are three large twin windows, larger than the rest of the building. On either side there are two twin windows. In the chamfered corner there is a blind window, and at the west end of the building there is a free-standing window. Colònia Güell was an industrial colony dedicated to the manufacture of corduroy and velvet. Its construction began in 1890, and the project had a doctor's house, a pharmacy, an inn, a school, shops, a theatre, a cooperative and a chapel, in addition to factories and workers' homes, in a total area of about 160 hectares. It was, therefore, an independent set where the workers worked and had all their basic needs covered. Originally, there was the "Cal Ninyo" inn at Carrer Barrau, 13. Later this was built in which, apart from serving food and drinks, there was room service, frequently used by assemblers and other passers-by who had some relationship with the factory.1910
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Cal Pons Colony
autoria desconeguda
The Pons colony is characterised by the fact that it is one of the textile colonies that was established and developed in a relatively short period of time (1875-1910), which gives it a great sense of unity. The two owners' towers, the director's tower and the church are the most emblematic buildings of Cal Pons, together with the garden. In 1908, King Alfonso XIII travelled to the Llobregat basin and paid a visit to the Pons colony. Church of Sant Josep The church has a Latin cross plan and is 32 metres long. The main nave is covered with a ribbed vault, and the side chapels act as buttresses for the central nave. At the intersection of the main nave and the transept there is an octagonal dome. The polygonal apse has an ambulatory that leads to the crypt and the sacristy. In 1879, the isolated bell tower was erected and in 1907 the family pantheon was built, where Lluís Pons i Enrich and his wife, Anna Roca, were buried. Externally, the church has a haughty appearance reinforced by the dome, the bell tower and the set of pinnacles. The main façade, facing south, is made of well-cut ashlars, while the rest of the building harmoniously combines rubble stone with brick. It is a neo-Gothic building that was constructed in sixteen months, the work of the architect Josep Torres i Argullol. The interior was decorated by Francesc Morell, brother of the factory manager at the time. School, convent, theatre and girls' home. The buildings have two storeys: the ground floor was used as a school and the upper floor was used as a convent, the priest's home and the residence for working girls. Like the rest of the buildings in the colony, the construction materials used were stone for the walls and brick for the windows and doors. The old tower (a fortified town before 1885) and the new tower (inaugurated in 1897) are monumental buildings in a medieval historicist style. They were designed as medieval castles surrounded by gardens. The old tower was the first to be built. It is a solid but slender building, with a very marked central body. The Catalan spiral staircase stands out. It is eclectic in style with a Gothic influence. The new tower is a large construction built on a rock at the end of the colony's gardens. In its structure, the central body predominates over both sides. The main façade, with a double staircase, faces north. The exterior walls combine brick, plaster and mosaics. It has many medieval-style decorative details: capitals with bestiary, floral decoration, gargoyles, blind arches on the eaves of the roof, etc. In the entrance hall there are allegorical paintings that refer to the continents of America, Africa, Asia and Europe. It is a landscape in the background with a female figure who brings some element that refers to each continent. In the representation of Europe, the background landscape is the Pons colony seen from the foot of the Llobregat. It was initially the continuous residence of the owners, later it served as a second residence and in the mid-20th century the furniture was auctioned off and it was converted into a towel factory. The architect of these two buildings is unknown. However, it seems that it could have been Josep Torres i Argullol or Alexandre Soler i March, architects who worked for the Pons family. The director's villa was built before 1900, it is more austere and smaller, and its architect is also unknown. The garden When the colony was designed, the intention was to turn the estate into an enclosed garden that would isolate it from the outside world. The garden was for the private use of the owners of the colony and the director's family. But when the Pons family were not there, the workers could use the garden and the adjoining forest. In this space there was a great diversity of plant species (some of which have since disappeared): banana trees, lime trees, mulberry trees, trumpet trees, horse chestnut trees, palm trees, poplars, holm oaks, fir trees... In the private garden of the new tower, two 1900s gazebos made of brick and wood stand out, overlooking the Llobregat river and the colony. Until the 1950s and 1960s, the colony was the most active cultural centre in the municipality of Puig-reig. The magazine “Colònia Pons” was published and the Home School and the School of Labour linked to the Industrial School of Barcelona were created. The factory workers received training that was truly cutting edge at the regional level. On 25 March 1886, construction began on the church of the Pons colony dedicated to the Virgin of Montserrat. It was consecrated on 10 August 1897. It was built at the same time as the large factory, the workers' housing and the two towers. In the mid-20th century, and especially in the wake of the Spanish Civil War, the towers where the owners resided were abandoned and a progressive deterioration of the cultural activities and the park, which had an interesting collection of exotic birds, began. The moments of splendour of the Pons colony coincide with the early days of its existence, between 1880 and 1930. -
Cal Bassacs Colony
autoria desconeguda
The Cal Bassacs textile colony is composed of the industrial complex — the group of various factory buildings arranged in alignment, one after the other — together with warehouses, spaces intended for offices, and, opposite the factory, the buildings constructed to house the workers. Within a large plot enclosed by a wall stands a small chapel; around the tower there are gardens and also a more modern structure. The majesty of the tower, besides presiding over the entire complex, also stands out for its size, its constructional characteristics, and the ornamental detailing of its finishes. As for the workers’ housing, these are located opposite the factory on the western side, forming a street known as Carrer Indústria. The group is made up of buildings with a ground floor and two upper storeys, covered with gabled roofs whose ridge runs parallel to the axis of the street. They display a total of four doorways giving access to the respective internal staircases. It appears that the buildings were constructed in different phases; broadly speaking, the façades — except for the northernmost building — have openings on the ground floor framed in solid brick (door to the staircase, entrance to the ground floor and some windows) with straight lintels. It is worth noting that the building adjoining the one at the northern end has openings with projecting balconies. Regarding the building at the northern end of the group, this one stands out for the regular arrangement of its openings, all framed in solid brick, among which the central first-floor window is distinguished by a differentiated brick pattern. In the building at the southernmost end, it can be seen that it is constructed partly with stone walls and partly with rendered sections, with well-cut ashlar cornerstones alternating with rendered surfaces. At the rear, there are various types of openings: in one case, the southernmost building has only simple windows; the next two have galleries on each floor, with straight lines, while the remaining ones have galleries with openings formed by semi-circular arches, though with differing finishes and combined with windows. The couple Raimunda Bassacs and Joan Teixidor i Ballús were the founders of the Cal Bassacs factory. The Bassacs family came originally from Prats de Lluçanès, where they worked as wool carders, later moving to Gironella, where records show their presence as early as 1717. By the late eighteenth and early nineteenth centuries, they were involved in several companies devoted to cotton spinning and weaving. The Teixidor family, originally from Berga, were also documented as being engaged for many years in the production of wire and cotton fabrics; their participation in a company from Berga is recorded as early as the seventeenth century. In 1861, the couple were living in Gironella, specifically in what is now Plaça de la Vila (then Plaça de l’Església), where they operated a workshop equipped with ten hand looms, a warping machine, and a bobbin winder. Records show that this workshop was still active in 1896. In April 1861, the couple purchased a piece of land from Maria and Ramon Fígols of Gironella, at the foot of the river Llobregat, next to the Sant Marc bridge, and thus alongside the road. On 30 May 1862, Joan Teixidor applied to the Gironella Town Council for permission to build a flour mill with two millstones and a factory on the land they had acquired. Construction began in 1869, with works on the weir and the obtaining of permission to build a mill with two millstones and one waterwheel. The initial plan seems to have been modified, since the mill was not built and two waterwheels were instead constructed. In 1871, they purchased another parcel of land; by then, records show that the factory already measured 158 palms in length and 14 in width. In 1872, they received permission to extract stone from the riverbed, provided that the remains of the Sant Marc bridge were not affected. To meet the capital requirements of the Cal Bassacs factory, the couple also purchased a house in Avià containing eleven looms, a bobbin machine, and a warping machine. Another source of financing came externally, through a mortgage with Antoni Manent Llonch, who was also the founder of the Colònia Manent in Puig-reig, among other enterprises; this debt was settled in 1884. Records show that, as new factory buildings were completed, they were rented to small entrepreneurs. In 1880, Miquel and Josep Santesteban operated twelve and ten looms, respectively. By 1884, one of the two factories must have been fully completed, as it was rented to the Manresa company “Antoni Torra e Hijos y Cía”, which installed over 4,000 spindles and 94 mechanical looms. Another section was leased to Estapé Camps, who installed twelve mechanical looms. One of the waterwheels was donated during his lifetime to their son Antoni, who put it into operation; the donation was confirmed in the will of Joan Teixidor Ballús, who died in 1891. At the time of his death, records indicate that both factories, as well as the warehouses and workers’ houses, were already completed. His heirs were his daughter Concepció Teixidor Bassacs and her husband Josep Fusté Teixidor. Their descendants continued the business along different lines. Antoni, who was in poor health, ended up renting the factory to other industrialists; upon his death, the property was divided between his wife Carme Vila Marces and his daughter and heiress Carme Teixidor Vila. The heiress continued leasing the factory, one of her tenants being Josep Sanglàs i Alsina of Manlleu, who was engaged in the manufacture of machinery for cotton spinning. His company became the first Catalan firm of this kind, employing some 300 workersin the 1920s. Following the early death of the heiress, her mother Carme Vila inherited the factory and rented it to the company “Josep Fusté y Cía.”, whose relatives managed the other part of the Cal Bassacs factory — the section inherited by Concepció Teixidor (wife of Josep Fusté). (continues in Observations) It should be noted that on the main façade of the workers’ dwellings, one building stands out for having two projecting balconies, one above the other. The ground-floor balcony has a wooden platform supported by timber brackets, while the upper balcony rests on metal joists with wooden slats, exposed wooden beam ends shaped as corbels, and an iron tie-rod. The balustrades on both balconies are simple wrought-iron designs with scrollwork decorations on the base and beneath the handrail. Cal Bassacs is included in the “Master Plan for the Industrial Colonies of the River Llobregat”; the municipality of Gironella is part of this plan along with Avià, Balsareny, Berga, Casserres, Gaià, Navàs, Olvan, and Puig-reig (DOGC no. 4940, published on 3 August 2007). (continued from History): Upon the death of Carme Vila, her share of the factory passed to Ricard Teixidor Masjuan, who in 1946 founded the company “Hilados y Tejidos Fusté, S.A.”. The factory inherited by Concepció Teixidor continued to be used directly by the family firm, “Josep Fusté Teixidor y Cía.” On 31 May 1914, the factory burned down; Concepció, then widowed, received assistance from the director Esteve Esparbé Garriga. Despite the disruption caused by the fire, production resumed, and in 1919 she leased the neighbouring factory from her relatives. For several years, the two companies operated separately within the Cal Bassacs complex. Salvador Fusté, son of Concepció Teixidor, married Bernada de Martín i Llobet of Berga in 1920. Salvador died young, naming his nephew Josep M. Minoves Fusté as heir, who became the principal shareholder of “Hilados y Tejidos Fusté, S.A.”. It was not until the late twentieth century that the two families who had inherited the Cal Bassacs factories united them into a single company, merging both plants under the same joint-stock enterprise. -
first half of the 20th century
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20th century
















































