Edifici de grans dimensions. Treballat en pedra i decorat amb totxos tot el voltant de l'estructura i obertures. La façana principal està dividida en 5 cossos, tres d'ells que sobresurten -tant en relleu com en alçada-. Els dos cossos més extrems són llisos en la part inferior i en la superior contenen una decoració a mòduls d'arc mig apuntat amb la repetició d'aquesta figura per triplicat en el seu interior. El cos principal -central- presenta obertures en tota la seva superfície ressaltades amb l'ornamentació del totxo. Els dos cossos més enfonsats també presenten obertures en els diferents pisos, on s'altera la decoració. Aquesta mateixa decoració, una mica canviada, menys rica, la trobem en les façanes laterals. Església Construcció romànica tardana, amb un interessant portal on s'insinuen trets gotitzants. D'una nau, amb volta apuntada de pedra, sobreaixecada. Prolongada per l'Oest amb un cos de dues alçades, amb arcs torals apuntats i cor recolzat en arcs rebaixats. Capelles laterals al presbiteri, que està sobreaixecat. Adossades a l'església seguint l'alineació del carrer Nou (façana nord) hi ha unes dependències construïdes en carreus de pedra amb dos portals adovellats, per on es fa actualment l'accés al convent. Portada romànica Portada que presenta arcs en degradació amb tres arquivoltes que descansen sobre una sola imposta que recorre tota la portalada. Les columnes que suporten les arquivoltes són coronades per capitells d'esculturació simple i senzilla. De les 6 columnes de que constava aquest portal, actualment només n'hi ha quatre, ja que en manca una per banda. El timpà no presenta ornamentació. És un portal que podria haver estat obrat posteriorment al període romànic. Convent La part antiga del convent és una monumental construcció gòtica inacabada, de mitjan segle XIV. L'edifici nou, construït paral·lelament a l'altre cos, és de grans proporcions, format per tres cossos rematats de forma escalonada, units per dos cossos més baixos a manera de passadissos, ordenats simètricament i de quatre plantes d'alçada. És una construcció en maó vist i paredat comú, seguint el llenguatge modernista-historicista. Un pati interior separa els dos edificis conventuals. 1322.- s'inicia la construcció d'una casa prop de la Culla per habitatge de les monges de Santa Clara. S.XIII.- Existeix la capella dedicada a Sant Blai i Sant Llàtzer de la que es creu que prové la portalada. S.XX .- Es construeix l'actual edifici convent.

It is a large four-sided building made up of various structures that form a monumental architecture; a synthesis, stylistically speaking, of historicist and Catalan Art Nouveau architecture. It is structured in elevation, mainly on the ground floor and three floors, with a monumental two-coloured roof with several slopes made up of green and red ceramic tiles. With a square floor plan, it incorporates an atrium on one of the façades on the ground floor and over a tribune, a structure that is reproduced in the rest of the elevations, giving the complex the appearance of an attached tower, which enhances the castle-like appearance of the complex. In addition, in the central part of the building there is a rectangular-shaped building with a tile-covered lantern, of which the crenellated structure and the decoration with arcatures imitating Lombard Romanesque style stand out, decoration that is also found in the friezes of the roofs and in the attached tower. In short, the use of structural elements associated with medieval architecture is a constant throughout the building. An example of this medievalism are the groups of trigeminate windows topped with semicircular arches and separated by columns that are located throughout the top floor, or the decorations on the imposts of the opening sills, which in some cases reproduce floral motifs. In terms of Catalan Art Nouveau decoration, the roof of the building is decorated with a number of chimneys covered with coloured ceramic tiles forming a mosaic or frieze which, together with other decorative motifs, reinforces the Catalan Art Nouveau character of the building. Also noteworthy are the decorations on the fronts of the balcony slabs, made with glazed ceramic tiles that reproduce floral motifs. Above the main doorway there is a balcony with a unique railing made up of quadrilobed oculi with a slab made of iron beams and flat brick vaults covered and painted with geometric motifs. On this same main façade, at the height of the lintel of the first floor, there is a coat of arms with the letter B, the initial letter of the original owner of the tower. The entire work is covered with a rendering that imitates irregular rows of stone ashlars. In short, a monumental building that reproduces the character of a medieval castle with decorations that recall the Art Nouveau style. The country house of the owners of Cal Bassacs, as in most of the textile colonies, was built as a home for the owners, generally temporary; it is a large stately building that also serves as a place of dominion. Its monumentality favours the symbolism of the building, showing that the entrepreneur is the master and externalising his social and economic status. The founding owners of the Cal Bassacs factory and colony were the married couple Joan Teixidor i Ballús and Raimunda Bassacs i Fornell, from Berga and Gironella respectively. Both families were linked to the spinning and/or textile industry prior to the construction of the Cal Bassacs factory, at least since the 18th century. The first news related to the factory begins at the beginning of the sixties of the 19th century, first with the purchase of the land and then with the beginning of the works of the factory, which would finally end up with the construction of two factories. The Teixidor-Bassacs family also had a workshop in their usual residence, located in what is now the Plaça de la Vila de Gironella. The business with the Cal Bassacs factories was basically to rent them, although some of the successors also founded a company dedicated to spinning and weaving. The tower was built around 1900, in the area of the garden that was used as the factory's warehouse. The tower had a chapel located at ground floor level, on the east side of the main entrance door, and which had direct access – this was used for some years to celebrate masses until the parish church of Santa Maria de Cal Bassacs was built. In the last years of the textile factory, part of the tower was also used as a factory warehouse.

The house has an almost square floor plan with the main façade facing south, with a large porch with semicircular arches. Both to the east and west, the house has a similar distribution of space, while the north-facing façade has a circular tower that includes the spiral staircase to access the top floor, where the servants' quarters were originally located. Its exterior has a certain fortified character; if we look at the façade of the tower, the facing is of quilted stone left exposed and the roof is tamed with black slate, understandable in the spirit of the Berguedà businessmen of the time. The tower reproduces the outline of the Central European Gothic castle with a circular tower crowned by a conical roof and covered with black slate. It dates from after the organisation of the colony, towards the end of the 19th century. It was abandoned when the factory closed in 1966. However, in the 1970s it was acquired by a private individual who restored it again as a dwelling.

This architectural complex is located to the right of the Llobregat river, on one side of the Bauma bridge, very close to the BP-1121 road. The Bauma Factory is a construction made up of two buildings, the Roca and Llubià one, named after the two owners, and the new factory, located on the banks of the river, arranged side by side, following the line of the river course, and separated by the Torre del Amo. The first, older one, built to carry out the finishing and shipping processes, has a single storey and is characterised by a row of twenty-three openings in segmental arches. The second, which was used for spinning and weaving, as well as the flock store, the office and the turbine room, has four storeys and a gable roof, giving it a unitary character. The Torre del Amo is a construction attached to the factory walls on the west corner, forming a main façade facing Monistrol and another one facing the road. The ground plan of the building is made up of two polygonal bodies, a square one equivalent to the porch and a rectangular one, where a lookout tower and the building's outbuildings are located. There is a staircase after the porch with three ovoid arches supported by two pillars with vegetal capitals and a three-slope roof. The tower is square in plan and has a lookout tower crowned with battlements. The unifying element between the two bodies is the roof with two slopes, made of green and reddish tiles. The walls are of exposed brickwork, and the full spaces and openings form vertical strips that fit in perfectly with the general composition of the factory buildings. The facing has several balconies with arches that vary from segmental arches to convex arches and lintelled arches. The plinths, imposts, arches and tympanums are covered with glazed tiles and ceramic friezes that form multicoloured geometric and vegetal compositions. The Bauma factory was founded in the mid-19th century when Narcís Roca and Francesc Llubià joined forces to create the Bauma textile colony. At first, the Bauma factory was known by the names of the two owners: Roca and Llubià, names that lasted until 1929, although they changed hands several times. The saga began with the Güell family, and later, in 1892, it passed into the hands of the Dalmau i Tolrà brothers, who were well known in the textile world. And thirdly, in 1896, they were owned by Joan Vial i Solsona, coinciding with the period of maximum splendour of the factory and the colony. With this new owner, the company underwent significant growth and modernisation in both the factory and the colony, as both parts underwent major extensions and improvements. Also from this period are the extraordinary and emblematic buildings of the Torre del Amo and the Church, built between 1905 and 1908. The Dalmau family kept the property until 1917, when it was taken over by the Parera i Vives brothers, and after 1920 it passed into the hands of Bartomeu Puiggros e Hijos de Bartomeu Puiggros. Finally, in 1930, it passed into the hands of Josep Balcells-Dolors Morató, until 1963, when it closed its doors, to be acquired a few years later by the final owners: Nerpel S.A., who started up the factory again, restored important parts of the building, such as the Torre del Amo, which was in a state of disrepair, and kept the property under the name of Balcells S.A. until 1990, when the company finally ceased to operate, a few years after the death of the new owner, Jaume Amor Ruiz, one of the last great textile entrepreneurs of the industrial era. Bauma is known as the oldest of the three large colonies in the municipality of Castellbell i el Vilar, followed by Colonia Burés and Colonia Borràs. To reach the factory you have to cross a bridge, owned by the factory, which was built in 1859, and which has had to be rebuilt after several floods.

This architectural complex is located on the right side of the Llobregat river, next to the Bauma bridge, very close to the BP-1121 road. The Bauma factory is a construction made up of two buildings, that of Roca i Llubià, the two owners, and the new factory. Both are located on the banks of the river, arranged side by side, following the course of the river, and separated by the Torre de l’Amo. The first, the older one, built to carry out the finishing and shipping processes, has a single storey and is characterised by a row of twenty-three openings in segmental arches. The second, which was used for spinning and weaving, as well as the yarn store, the office and the turbine room, has four storeys and a gable roof. In both constructions, an almost identical facing wall is used, thus giving them a unified character. The Torre de l’Amo is a construction attached to the walls of the factory on the west corner, forming a main façade facing Monistrol and another one facing the road. The ground plan of the building is made up of two polygonal bodies, a square one equivalent to the porch and a rectangular one, where a lookout tower and the building's outbuildings are located. Access to the building is from a staircase located after the porch, which has three ovoid arches supported by two pillars with vegetal capitals and a three-slope roof. The tower has a square floor plan and a lookout tower crowned with battlements. The unifying element of both bodies is the gable roof, covered with green and reddish tiles. The walls are of exposed brickwork, and the filled spaces and openings form vertical strips that fit in perfectly with the general composition of the factory buildings. The facing has several balconies with arches that vary from segmental arches to convex arches and lintel arches. The plinths, imposts, arches and tympanums are covered with glazed tiles and ceramic friezes that form multicoloured geometric and vegetal compositions. The Bauma factory was founded in the mid-19th century when Narcís Roca and Francesc Llubià joined forces to create the Bauma textile colony. At first, the Bauma factory was known by the names of the two owners: Roca i Llubià, names that lasted until 1929, although they changed hands several times. The saga began with the Güell family, and later, in 1892, it passed into the hands of the Dalmau i Tolrà brothers, well-known in the textile world. And thirdly, in 1896, they were owned by Joan Vial i Solsona, coinciding with the period of maximum splendour of the factory and the colony. With this new owner, the company underwent significant growth and modernisation both as a factory and as a colony, as both parts underwent major extensions and improvements. Also from this period are the extraordinary and emblematic buildings of the Torre de l’Amo and the Church, built between 1905 and 1908. The Dalmau family kept the property until 1917, when it was taken over by the Parera i Vives brothers, and after 1920 it passed into the hands of Bartomeu Puiggros e Hijos de Bartomeu Puiggros. Finally, in 1930, it passed into the hands of Josep Balcells-Dolors Morató until 1963, when it closed its doors, to be acquired a few years later by the final owners: Nerpel S.A., who started up the factory again, restored important parts of the building, such as the Torre de l’Amo. It was in a state of disrepair and kept under the name of Balcells S.A. until 1990, when the company finally ceased to operate, a few years after the death of the new owner, Jaume Amor Ruiz, one of the last great textile entrepreneurs of the industrial era. Bauma is known as the oldest of the three large colonies in the municipality of Castellbell i el Vilar, followed by Colònia Burés and Colònia Borràs. To reach the factory you have to cross a bridge, owned by the factory, built in 1859, and several floods have made it necessary to rebuild it.

Església monumental, situada al peu de la carretera de Manresa a Terrassa, a mà dreta, en el barri de la Bauma. Forma part del conjunt de construccions de la colònia industrial de la Bauma. La planta de l'església presenta una gran nau central i dues laterals. L'espai interior està distribuït en tres trams, determinats per tres columnes a ambdós costats i tres més d'intercalats. L'absis és semicircular i en ell s'hi obren cinc finestres. Els vitralls laterals estan tapiats amb un envà per la part de dins, encara que visibles pel cantó de fora. Les columnes no són treballades, sinó senzillament buixardades. A l'altar major hi ha una escultura de la Sagrada Família. La façana principal presenta una porta adovellada, de mig punt i una gran rosassa, a mà dreta s'alça una torre circular. L'aparell és força irregular. A ambdós laterals hi ha quatre contraforts, obrats amb grans carreus. En conjunt l'església té un aspecte esvelt i amb verticalitat. Va ser construïda durant els anys 1905-1908 per iniciativa del senyor Vial, propietari de la fàbrica, i del Bisbat. L'església, juntament amb el casino i la torre de l'amo eren edificacions típiques de les "colònies" fabrils de l'època, i manifesten la solidesa dels propietaris, enfront les cases humils dels treballadors. El projecte de l'església és de l'arquitecte A. Soler i March. Les obres es començaren el mes de gener de 1905 i s'acabaren a l'abril de 1908. Fou inaugurada pel Bisbe de Vic, Dr. Torras i Bages i hi assistiren també el governador Civil de B. Sr. Angel Osorio. La riuada dels dies 19-20 de setembre de 1971 va inundar les barriades de vora el riu, quedant molt deteriorades les dependències i el sòl de l'església. Els veïns de la Bauma van construir-la , tot aportant donacions en diner i treball.

Església de la colònia Monegal. Es tracta d'un edifici d'una sola nau allargada amb transsepte molt marcat. L'entrada es fa pels peus on hi ha una torre de secció quadrada. La coberta exterior és a dues aigües de teula romana i la interior, amb volta de creueria. La nau està flanquejada per dues capelles als peus, quasi tocant a la torre d'entrada; l'absis és de petites dimensions. Exteriorment recorda una catedral gòtica ja que té contraforts amb uns petits pinacles als laterals, la torre campanar és rematada per una agulla, les finestres són allargades, els arcs d'entrada del pòrtic, apuntats, etc. El parament és de pedra i maó perfectament treballats i disposats en fileres, donant un aspecte força homogeneïtzant. Església datada vers finals s. XIX, construïda quan s'organitzà la colònia tèxtil on està ubicada.

Building between partition walls, consisting of a ground floor and two landings, with a gable roof. The façade is crowned by an archery and barbican. The building alternates historicist elements (thresholds and portal) with other formal modernist elements (medallions, sgraffitos, borders and ceramics). The industrial activity of the 19th century brought the textile industry to Granollers, which began its growth with the cotton manufactures and their auxiliary industries, extending the urban fabric outside the walls and near the communication routes. Thus, they began the extension of the urban centre between Congost and the railway of France. In this way, the Barcelona-Ribes Road became the axis of the city, the wide area at the end of the 19th century, where we find the architectural movements of the last hundred years represented.

Block of flats between partitions. Ground floor, three storeys and attic added later. Classical and symmetrical composition. Symmetrically ordered façade. On the ground floor there is a large, central, bell-shaped arch and two round side arches (one of which serves as the entrance to the building). Façade centred by a tribune with arches supported on columns, occupying the first and first floors, with a lintelled gallery on the third floor, supported by columns. Balconies on both sides of the tribune, decorated with classicist jambs and lintels and cast iron railings.

It is a representative house of a family of textile manufacturers. It consists of a ground floor and a first floor with an attic. The façade is of cut stone in the frames of the openings and the cornices, with a plinth of quilted carved stone, and above the plinth there is a frieze of green glazed ceramic with plant motifs in relief. The door and windows are decorated in a manner reminiscent of Corinthian capitals. The first-floor balcony is accessed by three neo-Gothic arcades. The balcony railing was also neo-Gothic, but was replaced by a new one. The rest of the façade is plastered in the imitation of the stonework. A tower juts out from the chamfer above the roof. The site on which the building stands was developed before the 14th century. The house was built in the 20th century by the Arau family, fabric manufacturers and dyers of the village, but they no longer live there.

Edifici de pedra d'estructura irregular molt decorat en la seva façana. A la part inferior presenta unes arcades (en la part central) i un porxo que en els seus espais laterals comunica amb el pati posterior. Té dues ales de construcció molt més recent que el prolonguen i amplien i espatllen la construcció ja que aquests dos annexes són d'un estil racionalista degenerat que degraden força l'estructura antiga. Així mentre aquesta és totalment de pedra, la nova és d'alumini i vidre blau. A la planta baixa hi ha ubicada la Biblioteca Popular Joaquim Sarret i Arbós. Aquest edifici té caràcter commemoratiu de les gestes manresanes en la Guerra del Francès. L'any 1811 les Corts de Cadis acordaren erigir un obelisc quan fos possible. Però al cap d'un segle, el diputat Soler i March (germà de l'arquitecte) ho recordà al parlament tot presentant la proposta de canviar l'obelisc per un edifici cultural.

Building between partitions located in Carrer del Roser. The building consists of a ground floor, two storeys and an attic. Catalan Art Nouveau influences are evident in the composition of the façade, in the construction materials and, especially, in the profusion of decorative elements used (oval window, iron grilles and stained-glass windows). The house was renovated in the early 1930s, when its height was increased and the first floor was raised, with the characteristic tribune protruding from the profile. The crowning of the façade is also noteworthy, with a gable with a mixed composition and portholes. This building is attributed to Alexandre Soler i March, although this attribution is not entirely certain. In 1931, its owner, Joan Ramon Selgas, commissioned Josep Marfà to renovate the house, who respected the original style of the house to a great extent. For some years, the ground floor of the building housed the post office.

Neo-Romanesque style church of the 20th century following the Romanesque forms of the 11th century and synthesising great contributions of the Catalan Romanesque style from different places in order to achieve a prototype of a Romanesque church. The style used within the historicist forms is the First Romanesque or Lombard Romanesque: it has blind arches, Lombard bands, semi-circular arches, barrel vaults, a bell tower with floors which is separate from the church and regular stones placed at the junction. The dome that crowns the transept forms a Latin cross plan that tends to the Greek cross. It has three apses in degradation and the central one has three apsidioles. The Neo-Romanesque church of La Mare de Déu del Roser in Colònia Gomis was inaugurated in 1930 and is the work of the architect Alexandre Soler i March. It was the last work of the colony, which was made up of the factory, the housing for the workers and the church with additional religious buildings. La colony had been founded in 1891 by the industrialist Francesc Gomis i Soler and until recent years has been dedicated to cotton yarns and fabrics.