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.

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.

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.

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.

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.

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.

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.

The church has a Latin cross floor plan, with a single nave of ten metres in span and 45 metres in length, covered with five-section ribbed ogival vaults and a two-section transept. The presbytery is heptagonal in plan, with an ambulatory around the high altar with a baldachin, which was destroyed in July 1936. The interior is reminiscent of Flemish Gothic architecture, but is fitted with different elements that take you back to the eclectic architecture of the early 20th century: it uses parabolic arches and materials such as brick and artificial stone, especially in the ambulatory. The walls of the church have magnificent windows decorated with stained glass, also reminiscent of medieval architecture. The cloister is more than 30 metres square, with arcades that combine exposed brick on the columns with artificial stone at the base and capitals and arches, also in brick, with a egmental profile. Some elements of the old monastery were reused for the new work, such as some capitals and the Valencian tiles for the chapterhouse. The origin of the monastery of Valldonzella is the hermitage of Santa Margarida, a small Romanesque church exactly like that of Santa Maria de Valldaura and next to a country house, located in a wooded valley in the Collserola mountain range, still known as the Torre de Santa Margarida. It belonged and still belongs to the parish of Santa Creu d'Olorda, depending on the bishopric of Barcelona, where very close by, Bishop Berenguer de Palou, who gave the land for the house of the Valldonzella hermitage, had and still has the tower known as the Bishop's Tower together with another country house, on the border of the municipalities of Sant Feliu de Llobregat and Sant Just Desvern. Thus, the foundation of the Cistercian monastery is recorded on 4 November 1237. Between the two dates mentioned above, there is news of the incorporation of several women into the community, although the rule they followed is not specified. The first community was formed by Berenguera de Cervera with 11 nuns. Due to the insecurity of Valldonzella in 1263, the community obtained permission from Jaume the Conqueror to move to Barcelona, outside the city walls, to the place called Creu Coberta, which actually took place in 1269. The move was made because it was believed that the monastery was in a lonely, dangerous and rugged place. The community, or part of it, must have opposed the move, as seems to be demonstrated by the legend of the opposition of the image of the Virgin in the new place. This monastery was very important in the following years and its community was very extensive and was made up of the daughters of the families of the city's nobility. It was highly favoured by Jaume I and his successors and by the bishops of Barcelona, who joined the parish of Sant Esteve de Parets (1291) and Santa Creu d'Olorda (1416) to it. In 1308 it had 35 members. As proof of its prestige in those times, in 1395 King Joan the Hunter was to have a residence there, and in 1410 Martí the Humane fell ill and died, and a few years later, his widow Margarita de Prades retired there. It was also used as a residence by King Fernando the Catholic during his stays in Barcelona, given that it was located on the road between Barcelona and Sants, and therefore in the direction of Valencia and Zaragoza, and the Portal de Sant Antoni became the gateway for the kings to enter the city. The reform of the Council of Trent greatly affected the life of the monastery, insisting on enclosure and prohibiting the entry of more novices, until the prohibition was attenuated by Rome in 1599 thanks to the intervention of Felipe III. During the Reapers' War (1640-1652), the nuns left the monastery and moved to the city. In the last year of the war, during the siege of Barcelona, the monastery was completely destroyed. In 1674, the community moved to live in Santa Maria de Natzaret, a priory attached to Santa Maria de Poblet, located in the street that later received the name of Valldonzella. In 1814 the nuns had to take refuge in Mataró while the convent building was partly destroyed and rebuilt in 1826. In 1835 they had to leave the monastery again due to the disentailment law that forced religious orders to abandon their belongings. In 1847, the few surviving nuns of the exclaustration were reunited and resided there until 1909, when the events of the Tragic Week of Barcelona forced them to take refuge in the Torre dels Pardals in La Sagrera, owned by the Valls i Martí family. Like many other religious buildings, the convent was destroyed by fire. Work on the new convent began on the cloister and the surrounding outbuildings. In April 1913, work began on the provisional chapel, but the definitive church was not inaugurated until April 1919 and consecrated in 1922. Finally, in 1913, on the advice of Bishop Torras i Bages, the monks moved to the present site of Bellesguard, in a new monastery designed by Bernardí Martorell. On 19 October 1911, they bought a valuable 15th-century choir stall in the monastery of Sant Cugat, which is still in good condition. The church was dedicated to the Assumption, and today the community is made up of nine nuns, who, following the 'ora et labora' rules, offer a hostelry service and do bookbinding work.

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.

The set of homes in Castellar del Vallès presents the typical characteristics of bourgeois architecture from the beginning of the century, with all the stylistic elements of the time. It consists of a group of three houses of the same structure with a ground floor and a main floor. They have two openings per floor. It presents the incorporation of ornamentation and decoration elements inscribed on the façades. The openings on the upper floor have floral reliefs, typical of the plastic sense of the time, inscribed in the middle of the upper part of the span. In the balconies we can also appreciate the presence of floral motifs in the bars and in the lower part distributed symmetrically above the openings of the lower floor, in the form of small corbels formed by groups of leaves in relief that want to represent elements of support. The architectural ensemble presents a sense of unity and coherence.

A group of houses arranged around a street. There are 12 blocks, each of which houses two families, and they all have the same characteristics: they are made of brick, gabled with tiles, and they have a date in glazed ceramic at the top: 1918. Their main characteristic is that the block is divided in half vertically, not by floors. Rectangular in shape, they have an annex on each side, also with a rectangular structure. Each block is surrounded by a small garden that clearly defines the houses, which are on the ground floor and have two access doors: one on the façade and the other on the side, which leads to the kitchen. Villas A group of five buildings or towers surrounded and separated at the same time by a large garden. These are houses for executives. The five blocks have the same floor plan, with a few small exceptions. The main feature is that each block is split vertically in half and houses two families. The five blocks have the same floor plan with a few minor exceptions. The main feature is that each block is split vertically down the middle and houses two families. Looking at the side and front façades, the differentiation of the three floors can be seen, marked by a border that delimits the floors on the outside. The border of the first floor runs along the whole house, while that of the second floor only runs along the long sides. At the foot of the walls there is a kind of padding half a metre high. The third floor is lower than the other two. The whole building is made of exposed brick, as are the decorative elements. The gable roof is tiled, some of it glazed in green. There are also white and green tiles on part of the façade, combined rhythmically. Until 1982 they were owned by the company, and this year they were put up for sale and bought by their inhabitants.

Formant part del pla de noves infraestructures promogut per l'alcalde Pere Sabaté durant la dictadura de Primo de Rivera la família Ventós Mir va donar a l'Ajuntament el terreny necessari per a construir-hi unes escoles i els habitatges dels mestres. Es construeix un edifici entre mitger, amb planta baixa i dos pisos, amb sis habitatges. La façana -de la qual han desaparegut els balcons originals- presenta certes reminiscències de l'estil florentí de Brunelleschi, que era moda en aquells anys. Els patis interiors afavoreix la ventilació de totes les peces de la casa.