Casa d'estiueig, d'estil modernista. Presenta planta rectangular, amb planta baixa, planta primera i golfes. Té coberta de doble vessant, de tipus nòrdic (amb el carener perpendicular a la façana principal, però retallat de forma descendent), de petites teules vermelles. Les façanes estan pintades d'un to salmó, i les finestres es troben emmarcades amb maó vermell i decorades amb una sanefa de ceràmica verda i blanca. A la façana principal, a ponent, hi ha la porta d'entrada i dues finestres enreixades a la planta baixa. A la planta primera hi ha tres finestres molt allargades. La central dona a un balcó; està flanquejada per falses obertures a cada costat, de la mateixa mida. A la planta segona hi ha una obertura amb tres arcs correguts de mig punt. A la planta primera d'una de les façanes laterals hi ha una terrassa amb columnes salomòniques fetes amb maó. Casa modernista i de prestigi construïda com a casa d'estiueig o segona residència per un pròsper burgés, tal vegada de Manresa, a principis del segle XX. Segons el Catàleg de Masies, podria ser obra de l'arquitecte manresà Ignasi Oms. L'insigne arquitecte Ignasi Oms Ponsa (1863-1914), deixeble de Doménech i Muntaner, i responsable dels edificis modernistes més notables de Manresa (el Casino, l'Escorxador, casa Lluvià, Casa Torra, Casa Torrents, Ca la Buresa, la Florinda ...) va rebre l'encàrrec, el 1901, de remodelar la mansió veïna de Can Gallifa, obra que no va acabar en persona. No sabem si el fet d'adjudicar l'autoria del Xalet a Oms és més per la proximitat de can Gallifa que a dades documentals fefaents.

Edifici de planta baixa, pis i golfes. Format per dos cossos: la planta baixa i el pis on hi ha l'accés i l'escala, i la planta baixa, un pis, golfes amb coberta a dues aigües. La façana presenta balcons al primer pis i remat amb capcer escalonat, amb finestra quatripartita a les golfes. Una torre-mirador de planta vuitavada s'aixeca per la part del darrera. L'interior presenta un vestíbul amb sòcol de ceràmica i mosaic de rajoles on consta la data. Portal amb vidriera. Pinacles de pedra a l'escalonat del capcer. Carener de ceràmica amb motius florals. Obra vista en la façana principal, té elements de decoració de pedra. 1903 construcció.

The monumental entrance to the complex is found on the Camí de Juncadella (which leads to the square). On both sides of the door there are two single-storey pavilions that open onto a courtyard that provides access to other buildings (three halls or pavilions with specific activities). There is also a large 15-metre-high tower that is a water tank. Historical notes 1904.- Building of the project. 1906.- Laying of the foundation stone. 1908.- Inauguration.

Torrens House is a residential building with three façades and a dividing wall, and with a historicist language. It is a four-story palace with circular towers at its corners. The central entrance has a hall that unfolds into two equal stairs, and one of the towers is topped with a conical dome with ceramic scales and a gallery on the first floor. The façades are of a regular and symmetrical composition, with an orderly arrangement of openings, alternating balconies and windows with a vertical pattern. There is a balcony on the first floor and a centered tribune, as well as an open gallery on the upper floor and an imbrication cornice. There has been a recent restoration of the lobby carried out on the ground floor, with the installation of an elevator. The doors of the houses are original, with a modernist decoration.

Detached single-family house with a small garden around it. Catalan Art Nouveau style. House with ground floor, first floor and basement with a tower raised on one of the vertices, octagonal and covered with ceramic scales. Façades: The sgraffito work on the first floor and a large window with a stone balcony stand out. Openings framed in stone, with a vertical layout and wrought iron balcony railings. Staggered cornice finials. Stone and brick construction. Ornamentation with stone reliefs, geometric and floral motifs, sgraffito, wrought iron and ceramics. 1809-1910: construction. 1935: alterations: external staircase and first floor door. 1981: acquired and restored by Manresa City Council.

Detached house with three façades (one on the street and two in the garden) and a partition. It consists of a ground floor and two storeys. A small light tower stands out from the stairwell. The façades are of ordered composition and two of them are symmetrical. The ground floor has a doorway and neo-Gothic windows, all in stone with horizontal bush-hammered bands. The rest, stucco imitating brick, with a monumental upper finish to the main façade, in stone, with a theory of windows separated by columns with elaborately carved capitals. Stands on the first floor with polychrome leaded glass. Stuccoed brickwork and decorative stone elements. The project dates from 1910.

Edifici de planta rectangular de dues plantes, amb molta façana i poca profunditat. Domina la simetria i l'horitzontalitat, només trencada al coronament de l'edifici. Té un gran nombre d'obertures: tres portes d'entrada amb finestres intercalades a la planta baixa i al primer pis set obertures més, cinc de les quals comparteixen el balcó principal. Elements a destacar són dos medallons amb motius florals, la barana del balcó principal de ferro forjat, i els esgrafiats on es pot llegir: "Casa consistorial 1912" amb l'escut de Navarcles al centre. L'any 1910, amb motiu d'haver cobrat 7500 ptes per la redempció d'un cens que feia la casa Solervicens pel molí de Navarcles, l'ajuntament acordà la urbanització de l'actual plaça de la Vila i la construcció d'un nou edifici consistorial, que subsistia l'antiga casa de la plaça Vella, que també havia de servir per acollir escoles públiques. El projecte fou encarregat a l'arquitecte manresà Ignasi Oms i Ponsa. Fou acabat l'any 1912.

Industrial building made up of several sections within an enclosed area. Sections joined by bridges and walkways. Uniform façades, with a marked verticality. On the ground floor there is a common masonry plinth with brick stringcourses. The rest of the brick has a white stucco, leaving it exposed on the jambs and arches of the openings. We can see white ceramic and green brick imposts, and exposed brick cornices decorated with frets. The main building has stepped gables ornamented with brick and ceramics, and a watchtower with battlements on one side. It is covered by an arabic tile roof. Construction began in 1912 and the premises were inaugurated on 18 May 1913.

The Casino is located in the centre of the town and occupies a site of 66,000 square metres. It is a large building, with its façade aligned with the promenade and a rectangular and symmetrical floor plan, consisting of a semi-basement, mezzanine and main building. It is made up of three sections: the most prominent central section and the side sections perpendicular to it, articulated by two staircases located on either side of the central section, which advances to form a semi-circular tribune. The façades are symmetrical in composition, with a profusion of historicist, classicist and floral decorative elements. The main façade and the rear façade were surrounded by gardens covering 84,000 square metres. The building was not completely finished, nor was the original design fully respected. The mezzanine was modified in 1917 by the architect Josep Firmat in order to install a bar, which was not in keeping with the rest of the building. The terrace overlooking the promenade was inaugurated in 1919. In the main hall of the south wing, the only one that was finished in accordance with the project, one can appreciate, despite its deterioration, the rich eclectic and Catalan Art Nouveau decoration. Many of the decorative elements, both interior and exterior, remained unfinished. In recent years, the building has been renovated and refurbished several times. The building was constructed in 1906 by the Manresa architect Ignasi Oms i Ponsa, a disciple of Domènech i Montaner. In 1917, the building was renovated and the lounge-café decorated by Firmat was inaugurated, and in 1919 the new terrace (the current one) was built. Unfortunately, the building was not finished and remained in a rather pitiful state of repair for some years. In 1970, a long battle began to prevent its demolition. Finally, in 1985, the owners ceded it to the City Council, on condition that it would allow them the commercial exploitation of certain areas of the building, as well as the construction of an office building and a car park in what had been the back garden. At the same time, the City Council has ceded its use to the Generalitat de Catalunya for the installation of certain services.

This Catalan Art Nouveau house of considerable size is the initial work of Ignasi Oms. It is structured in different bodies. The whole forms a closed enclosure. The load-bearing walls are made of stone. The building has multiple façades; in general, the different sections are rectangular in plan. The roofs are gable-roofed, with a red roof and moulded eaves. The main façades have a ground floor and three upper floors, plus a possibly fitted-out attic. The openings are decorated with ceramics and wrought iron. At one end of the north façade there is a tower crowned with battlements, and on the south façade, at the corner, there is another circular tower, this one topped with a pinnacle. Also noteworthy are the numerous galleries, balconies and sgraffito work on the north façade of the Casal. The exterior is full of ceramic elements, stone reliefs, openwork railings and sgraffito with floral motifs, although the façade is entirely of continuous cladding, with the main door framed in stone, as is the fountain located at the midpoint of the body below the corridor gallery. The openings are closed with wooden shutters and some of them have undulating shapes in a markedly Art Nouveau style, although most are perfectly rectangular. There are also a number of modern-built cutleries. Some of them served when the house was a restaurant and hotel. The caretaker's house has artistically executed façades that combine red, green and white ceramics and continuous cladding. The house called Cal Noguera (which could have an ancient origin, at least from the 16th century) was acquired in 1862 by the Manresa industrialist Francesc Gallifa i Parera in La Seu de Manresa, which he had taken over due to indebtedness of the Noguera family. From then on it was known as Torre de Cal Gallifa, although the current owner recovered and promoted the name of La Noguera (the façade bears the sign ‘Manso Noguera’). The installation of the Gallifa family in Rajadell had great repercussions, as they were one of the main industrial families of Manresa. The distinguished architect Ignasi Oms Ponsa (1863-1914), a disciple of Domènech i Montaner, and responsible for the most notable Catalan Art Nouveau buildings in Manresa (the Casino, the Slaughterhouse, Casa Lluvià, Casa Torra, Casa Torrents, Ca la Buresa, la Florinda...) was commissioned by the Gallifa family in 1901 to remodel the house. In 1914, following the death of Ignasi Oms, the Valencian architect Marcel·lí Coquillat (Elche, 1865 - Busot 1924), who studied at the Barcelona School of Architecture, took charge of the work. The works were carried out between 1901 and 1920. Ignasi Oms planned the renovation of the ancestral home, to which he attached a new building with a ground floor and two storeys, with a basilica section, large windows and a two-storey circular tower at the right end of the south façade, covered by a conical dome. Marcel·lí Coquillat undertook the extension work in 1914-1915, modifying Ignasi Oms' original project and building an additional storey on the manor house. He also designed the corridor gallery, the sharecropper’s house, the caretaker's house and, finally (1922), the chapel; but always maintaining, to a large extent, the style and functionality marked by Oms, seeking to blend the architecture into the landscape and to take advantage of natural light and ventilation. It is possible that the Manresa architect Alexandre Soler March (1874-1949), also a disciple of Domènech i Montaner, had previously carried out an initial remodelling at the end of the 19th century, with gardens and buildings of neo-Gothic and neoclassical inspiration, before Oms' remodelling at the beginning of the 20th century. During the Spanish Civil War (1936-39), Can Gallifa was reconverted into La Llar de l’Infant, where children who were refugees and/or orphans because of the war were taken in. It is also known as Torre de Can Gallifa or La Noguera. It appears in the Catalogue of Country Houses and Rural Houses 2014 (num. 51) with the name of La Noguera (in the Catalogue of Protected Assets, which includes other properties, it receives the same name; according to this catalogue, it is BCIL and would also be AEA, Area of Archaeological Expectation). Inside, the vestibule with its great vault on columns and the main staircase, highly ornamented with plant motifs, the richness of the floors, the woodwork and even the elements of the furniture are worth highlighting. Can Gallifa and its natural surroundings constitute a residential complex of great architectural and landscape interest. The chapel of the Virgin of the Angels of Can Gallifa (sheet 15), built by Marcel·lí Coquillat, stands in a separate building. The Girada fountain, built by the Gallifa family, is 700 m south of the mansion and has noteworthy Catalan Art Nouveau elements (card 392). Until recently, Can Gallifa was used not only for residential purposes, but also as a restaurant and hotel (now closed). Hotel and restaurant were independent of each other. The hotel was called Manso-Noguera and was luxurious. It had 12 double rooms (including two suites) decorated with antique furniture. Carles Pressegué's restaurant offered signature cuisine. The manor house has 80.000m2 of garden and is surrounded by trees, with wide views of the tramontana. The doll's house is remarkable. The estate has a heliport. The Gallifa family sold the estate and since 2010 it belongs to the Tous family of jewellers. The mill of Can Gallifa (card 123), located one km west of the country house, was built by Gallifa in 1910, as an inscription indicates. It was used to bring water to some reservoirs, and from these, the water flowed to Can Gallifa. Since 2020, it has not been possible to access the estate. The description corresponds to the PEP 1993, the Masies Catalogue 2014 and other bibliographical sources. Photo 2 is taken from the website Conocer Catalunya and photo 3 - which corresponds to the Torre del Guarda - is taken from the website Barcelona Modernista.