Building between partitions, with a ground floor and three landings, as well as a symmetrically composed façade and curvilinear gable roof. The latter includes a grandiose and exaggerated ornamental composition with ribbons, fleurons, tiles and embossed buttons with high-quality metallic reflections. The "whiplash" type forgings are very characteristic of Raspall's first stage, full of imagination and exuberance. Located in Porxada Square, it is a main public space in Granollers, where the traditional Thursday market takes place. In its surroundings there are Renaissance buildings, so it represents a visual variant together with the Town Hall, also very important in the square. It belongs to the network of constructions from the late 19th and early 20th centuries, a period of great construction activity in Granollers and Vallès Oriental, where the bourgeoisie opted for the decorativism and imagination presented by modernism.

Garden city typology volumetric building with a ground floor, main floor and turret. Decoratively it is quite poor: ground floor with plastered padding and floor with smooth stucco. The turret has sgraffitos with a floral and geometric theme in white relief on an ocher background. It also has tiles with a mechanical pattern that is used in uniform succession on horizontal sides. Above the door jamb there is a beautiful sign with modernist calligraphy. In the garden there is a fountain decorated with broken tiles, altering blue, white and green. The grating of the fence is formed by a metal fabric and reinforced with a handrail with a "coup de fouet" motif. On top of the façades, there are drawings of simple stucco plasterwork and following the style of Spanish Baroque plaques. The style of this can include it within the artistic phenomenon of "secession", of Viennese influence. There are also reminiscences of eclecticism. This belongs to the network of constructions that began in the last decade of the 19th century, when Cardedeu was transformed into a summer town with the construction of houses in St. Joan Square, Barcelona, Major and Molí Streets, etc., as well as around the town. This fact changed the urban structure and the character of the town, of the agricultural town, because it was transformed into a summer town and a small industrial centre.

Detached single-family house with a square floor plan. It consists of ground floor and first floor. Stuccoed façades with ashlar projections. The openings are encircled with stuccoed floral motifs. The entrance door and balcony receive a treatment different from stucco. Historical news It is Raspall's primitive work in an area where houses were built under the concept of a garden city. The iron bars in the form of a whip organically attached to the wall appear for the first time.

Detached house with a flat façade with symmetrical composition. It consists of a basement, ground floor and attic. Plastered walls with ashlar projections. Circled openings with floral ornamentation. A ceramic impost limits the gable, which has sgraffito with geometric motifs that are repeated as a border on the lower part of the roof eaves. The closer wall is interesting, with a sinuous profile, with a curved spine covered with granite rubble. The trellis is of great complexity in the drawing of geometric vegetal motifs. In the garden there is a winding plant fountain with a curved back covered in tile. A circular floret appears for the first time in plate form, from which rigid vertical ribbons joined by a floral element hang, as well as geometric sgraffitos and imposts. Raspall used these motifs a lot in the period before the war (1903-1914). The iron grating that was built later stands out.

Detached house between partition walls. It consists of a basement and ground floor. Flat façade, crowned by a mixed railing formed by medallions with vertical ribbons joined by a sgraffito border with floral motifs and wrought iron elements. Unique work by Manel Joaquim Raspall: the formula of the plates, above the door and windowsills, reaches its maximum ornamental complexity.

Building between partition walls, composed of a ground floor and two floors, covered on two sides with a flat façade of symmetrical composition. The façade is made with different materials: masonry, exposed brick and ceramics. All of them play an important role in the composition and decoration. The arch of the openings is made of bricks and rests on ceramic borders. The irons of the railings and the balcony are also significant because they represent the most identifying element of Raspall's first modernist stage: the "rope" motif, a vegetal stylisation that goes beyond the jamb and goes organically into the same work. Thus, the formal elements (balcony, plinth, thresholds) correspond to the modernist language of Raspall's first stage. The Cafè de l'Ametlla is the most relevant work of the architect Raspall in L’Ametlla del Vallès. Raspall was then the municipal architect and as such he intervened in many of the projects at the beginning of the century. It was the moment of L’Ametlla's transformation as a summer resort frequented by the Barcelona bourgeoisie.

Detached single-family house. It consists of a ground floor, a floor and a turret with a viewpoint. All the walls are of ordinary masonry. The openings are encircled with exposed work with a stepped lintel. The edges of the corners are also of exposed construction. The roof is topped by a turret. The perimeter imbrication of the tiles is transformed into an eave along the balcony, which is supported by two panels that at the same time frame the main door. The vault is lined with green and white mosaic. The nearest wall is of ordinary masonry in the plinth and pilasters. The lattice is made of wood. As a singular element, we should note that all the walls are of ordinary masonry. In the ceramic panel there is the inscription: "ANY 1907", limited by two ceramic pinnacles.

Housing between partitions with a battered, symmetrical façade, which is lost due to the displacement of the portal. It consists of a ground floor and two floors. On the first floor there is a curved balcony in which the grating of the sill stands out in a very typical drawing by Raspall of the first modernist stage: the motif of the coup de fouet and vegetal elements. On the second floor we can also find some very typical Raspall windows, with an elliptical arch framing a simple opening with a flat lintel with a sill. The interior of the house is preserved as it was built, with modernist doors and portals of great artistic interest. All in all, it is a great sample of the modernist language of Raspall's first stage. According to Pere Comas, the Rovellat house (Masó house) is from the beginning of the 20th century, because in 1904 Mrs. Carme Golferichs, widow of Masó, paid for the mosaic tiling of the church. 1904 is also the year in which Raspall was appointed municipal architect of Cardedeu, replacing Adrià Casademunt. From that date, Raspall began an intense construction, architectural and urban planning activity in the town.

Isolated building that comes from the refurbishment of a farmhouse. It is composed of ground floor, floor and attic. The façades are flat, with a symmetrical composition. The roof is two-sided, and a lookout tower protrudes from it, finished with a four-sided roof, with a powerful eaves and a barbican crowned by interesting bars. It is a work renovated by M. J. Raspall, carried out in 1908, and belongs to his modernist period. If it weren't for the baroque play of ceramics and brick and the warm tone of the whole, this would be the closest Raspallian work to Puig i Cadafalch's white popularist series. Can Xammar de Dalt was initially a small farm that through the generations increased its properties until it came to possess a large heritage. In the 15th century the property of the Mas included all the land in the upper part of L’Ametlla, from Serrat de l'Ocata to Mas Antoja and from Mas Bosquets to Mas Forns. This great heritage gave the Xammar family a great social category. Until the beginning of our century, the Xammar house was a typical south-facing farmhouse with a two-sided roof, ground floor, floor and attic. On the façade there was an arched door and Gothic windows. Above the portal there was a stone indicating the year 1643. The farmhouse had been extended and improved. In 1906 the entire property was sold to Mr. Joan Millet. The new owner modified the exterior structure of the farmhouse. Inside, the farmhouse underwent few modifications and in general the compartments and rooms it had were preserved. In 1910 Joan Millet had to sell the farm to J. Sindreu. The refurbishment of Mas Xammar de Dalt was much discussed and criticised at the time by the people of L'Ametlla, who did not approve.

In old Barcelona, among the architectural jewels that keep the patina of the nobility, some manor houses, obeying the needs and the taste of modern life, take on the physiognomy of newer palaces, within the lines of ancient nobility. One of them is the old Mornau house on Ample Street, owned by the heir Nadal, a descendant of the old founding family who counted among his own the wise archbishop Dr. Félix de Amat de Palou de Savall i de Montbui, who worked for the King Carlos IV. The beautiful palace that today displays its white walls and golden balconies in the darkness of Ample Street, has been preserved by his heirs in all the purity of its lines and its vaults. It was restored on the occasion of the wedding of the Mornau heir to the beautiful daughter of the baron of Quadras; a rejuvenated marquis for the beautiful María de Cuadras who, on two other occasions, first as a maiden in her parents' palace, then as a bride, and now surrounded by a new beauty, with the noble crown of motherhood, has come to honour the pages of FEMINAL. The photographs that we bring today reflect one of his most important spells: colour. And you have to see the beautiful white and gold and Louis XV salons; the old chamber of pure style, with beautiful scenes of Creation painted on the walls, where Archbishop Amat died, religiously preserved by the descendants of the illustrious son of Catalonia; the old portraits, the precious tapestries, the art jewels that are everywhere, the library, in which, in addition to 5,000 volumes, the collections of the Diario de Barcelona have been religiously preserved since its first issue; modern luxury in all its refinement in the private rooms, sober, elegant, stately, well worthy of the young couple who have made their nest between those ancient walls, where today the grace of a little heir honours it. And you have to look closely at the showcases, which keep a treasure of ancient jewels, among those that were the property of the archbishop, and they are truly remarkable. In the chamber where Doctor Amat gave his soul to God, the Mornau, Artós and Nadal families, descendants of the illustrious man from Sabadell, piously conserve, in addition to the furniture and wall paintings (among which a very beautiful Saint Anthony must be highlighted), a Crucifix of great artistic and historical merit, as it was given as a gift by King Carlos IV to his confessor. The oratory; the beautiful central courtyard, the hall decorated with family portraits and remarkable furniture and tapestries, are worth mentioning. And, finally, we must justly praise the restoration works, entrusted to true artists, whom we can well call the young architect D. Manuel Raspall, to whom the delicate work was entrusted. The little space that we have prevents us from detailing better what this Barcelona interior is that embellishes our pages today, and we are really sorry, since there is very interesting material in all concepts.

House between party walls with a ground floor and two landings, with a symmetrical composition. The openings of the second floor form a composition with the gable in a cone-like shape. The roof is in the form of a terrace with a lattice railing. Due to its formal elements, this building belongs to the modernist style, specifically to Raspall's first modernist stage. Although it has undergone modifications, the building still retains the modernist spirit of the time. According to the municipal archive extracted by l'Artigues, in 1908 Antoni Clavell i Bot, resident of Barcelona, was authorised to knock down a house and build a new one, in 3-4 Major Square. This improved the composition of the square. He bought the land at 0.5 pesetas the palm. In 1933, renovations were made to the façade of the building and the façade openings were modified. Later on, the ground floor was also modified.

Isolated garden-city typology building. It uses the unevenness of the plot and has different heights at the front and at the back. The street façade consists of a ground floor and an attic, while the rear façade has three floors. It has a complex plan with protruding rectangular bodies and a composite roof. A small tower with a roof on two sides protrudes from the façade. It has forges with sinuous work. The house is painted white and has ceramic decoration with alternations of white and blue forming horizontal stripes. The roof follows the same combination. There is a ceramic medallion with the Virgin and Child scene. El Figaró is a town with a tradition of summering since the end of the 19th century and the beginning of the 20th century, boosted by the existence of the railway that facilitates access from Barcelona. Its aesthetic is close to Noucentisme although it uses some elements of Modernist typology. The exact dating of the house and its author are unknown.

House with ground floor and two landing facing two streets. The ground floor has been completely transformed by Banca Catalana, reducing the strength of the complex, which has a modernist character. It has a sinuous gable with the typical florets with ribbons of the Raspallian modernist stage, which fall above the lintels of the windows on the second floor. The windows on this floor are crossed by a frieze of coloured tiles. Above the frieze and below the gable there is a stucco with drawings which date to 1926, which does not correspond to the date of construction but to that of the refurbishment. The Arquer house was built at the beginning of the 20th century and although we do not know the exact date, we assume that Raspall was already the municipal architect (1904) of Cardedeu. Raspall deployed an intense construction activity in the town from this year on. On the other hand, the Arquer house belongs to the network of constructions that, since the last decade of the 19th century, Cardedeu residents established in Barcelona had built in the town, which will make Cardedeu a summer town, transforming its character and its urban layout. In 1926 the same architect renovated the façade.

Isolated building with a rectangular floor plan. It consists of ground floor and first floor. There are two bodies, one intended for a closed gallery and the other for a chapel. A circular tower surmounted by a pointed roof is attached to the SE corner. The building is topped by a denticulated cornice and continues along the eaves of the roof, tower and head. The façades are stuccoed with ashlar projections. The openings are surrounded by floral elements in the lintels. Maximum exponent of historicist architecture due to the volume and wealth of materials on both the exterior and interior walls.

The Can Boixeres complex, which is now a municipal park, was originally the garden of a manor house, which is still preserved within the park. Inside the park there is a great variation of elements such as trees, flower plantations, sculptures, fountains... Two sculptures worth noting are "The Family", by Héctor Cesena, and "The Girl with the Pigeon", a nude by Rafael Solanic. "The Family" is a sculpture in white marble, about two metres high including the pedestal, which represents a man holding a woman by the shoulder who is carrying a child in her arms. The figures are life-size. The style is realistic but schematic, hinting at the lines of the composition and the figures but avoiding detail, except for the faces. "The Girl with the Dove" is a sculpture in white marble, about 80 cm high plus a 20 cm pedestal, representing a life-size nude girl in a crouching position holding a dove in her hands. The style is clearly Noucentista, reflecting the influences of Arístides Mallol and, above all, Esteve Monegal, the sculptor’s main teacher. The concrete base is a later addition. There is a modernist pavilion with a circular floor plan, covered with a dome supported by six columns. The drum-shaped dome is decorated with glazed ceramic mosaic. The columns are made of concrete, have small capitals and are decorated with white mosaic on the upper part and dark mosaic on the lower part. A wrought-iron gate encloses the pavilion. There are steps leading up to the building. Inside the park, apart from the manor house, there is also the land. It is a building with a ground floor, a first floor and an attic, with a gable roof and the ridge perpendicular to the main façade. The entrance doorway is paved, with an elliptical arch, and the rest of the openings are rectangular, with rounded lintels, while the jambs alternate stuccoed and smooth voussoirs. The façade has a corrugated roof that hides the roof. On both sides there are two single-storey additions, which on the first floor form a balcony enclosed by a balustrade. A wall over which the railway passes surrounds the garden. The facing is made of stone for the load-bearing structures (the lower parts of the gates, the pilasters that divide the sections, the triangular buttresses...) and of brick for the semicircular arches of the gates. On the road to Esplugues there is a large stone and iron gateway in the Classicist style, with Corinthian pilasters and the date 1911 can be read at the top of the gate. Can Buxeres is the former Can Alemany, owned by the Counts of Alemany, which already existed in 1770. Between 1877 and 1906, the building, owned by Lluís Buixeres, was converted into a mansion. In the following years, the garden surrounding the house, which is now a municipal park, was created. The garden was developed in 1906-1911 and underwent radical transformations when it was declared a public park on the 8th of November 1972.

It is a newly built holiday home, consisting of a ground floor, two floors and the rooms under cover. Each floor has a distributor that is connected to those of the other floors by a staircase that reflects and unifies the entire upward movement of the house. The plinth, made of stone, has a remarkable height, and the whole body is crowned by a Greek ceramic that frames the different sections as they are found in their development. The roofs follow the ascending movement of the volumes towards the central part. Beyond the ornamentation, the house is an example of modernist research in the volumetric and spatial conception of the entire building.

Built on the same dates as the rest of the "Raspall block", the Iris tower shows a light and immaterial appearance thanks to the chromatic treatment spread over all the façades, based on white, cream and yellow tones. It follows the typology of the other holiday homes built by Raspall, with the vertical continuity reflected by the tower. In this case, Raspall is entertained in all the small-scale elements, such as the vaults of the balconies, covered with mosaic, or the bars of the railings, which trace very delicate patterns. The stone plinth extends to the base of the fence, showing a desire to cover all surfaces and generating a dreamlike and unrealistic image.

"La Bombonera" is located on a small plot with a single façade on the promenade, which induces Raspall to exploit the elements on a small scale and to combine the small dimensions of the house with an unreal and dematerialised image. Raspall makes the white colour of the wall coverings play with the green colour of the doors and windows and the navy blue of the sgraffito borders, with very smooth designs. The house follows the same configuration as other seasonal houses in Raspall, with the staircase topped by the tower. At the entrance door there is a unique wrought iron lantern unique in the work of Raspall, which will be repeated later in the house built in 1914 for Manuel Maresma.

The Barraquer house (1912) is a building with a concentrated floor plan, with two storeys, consisting of a semi-basement, basement, floor and attic, and a taller observation tower containing the staircase. A gallery - added later - with a polygonal plan protrudes from the south façade, an extension of the living room opens to a terrace raised with respect to the garden. The roof of the house is on two sides, with overhanging eaves, and that of the tower, with a four-sided roof. The lower part of the walls is of irregular stone forming a plinth. The rest is plastered with sgraffitos and blue ceramics. Of the four Raspall houses, this one is the most austere of all and the closest one to the language of the Viennese Secession. There are also stained-glass windows, windowsills and other elements that are part of the modernist decoration of the house. The "Mansana Raspall" is a unique set in the history of modernist architecture in our country: it consists of four isolated buildings, located on the same block of houses, built by the architect Manuel Joaquim Raspall between 1910 and 1913. The four buildings have an obvious stylistic unity, reinforced by the garden fences, which use the same language: irregular stone, mosaic and forge, all with sinuous lines. The Raspall Houses are very representative of the work of the first stage of this architect, who belongs to the second generation of modernist architects, and are the gateway to the long Passeig dels Plàtans, where there are the most important modernist buildings of the population. The promoters of the Barbey and Barraquer houses were prominent members of the Barcelona bourgeoisie, who had them built as second homes. The Bombonera and the Iris Tower were built by Cecília Reig Argelagós, from La Garriga, who rented them out as a second residence.

Isolated building, aligned and elevated with respect to the level of the square, formed by a central body and two annexed lateral bodies. Its composition is symmetrical with respect to the axis that forms the central body. Of the central façade, the arch of the entrance door with two columns with capitals, the central balcony and the crowning inscribed with a sundial and the central motif of the geometric floral sgraffitos on the façade, stand out. On both sides of the central body there are the lateral bodies, with semi-circular arches lowered and tripartite by billet pillars. A stone plinth crowned with a group of billets unifies the three bodies. The central body was intended for town hall offices and the sides were intended for public schools, one for boys and one for girls, forming a characteristic ensemble of the early 20th century, a model also followed in several towns. The complex is part of L’Ametlla widening project, carried out by the then municipal architect Joaquim Raspall i Mayol around 1906.

Building between partitions. It consists of ground floor, floor and attic. Seated on a plinth of ordinary masonry. Finished by a panel in an alternating grid of brown and ocher tiles which is surrounded by a metal corner. There is stucco in horizontal strips up to the ceramic impost on the lintels of the first floor. On the ground floor there are three mullioned windows limited by vertical elements that support the eaves. In the pilasters there are sgraffitos with floral geometric motifs. The signs are purely modernist calligraphy. Completely symmetrical façade; as the only volume we find the balcony, a singular element of the composition. The corbels are covered by mosaic and this, at the same time, is limited by an iron handrail. At the base there is a floral geometric element of whipped iron organically attached to the wall.

Set of buildings on an approximate extension of 76Ha designed by Raspall, following the same criteria in a unique set due to its formal coherence and representativeness of an era. It is composed of chapels, pantheons, well and pergola. It contains 14 pantheons, 900 granite stone niches, an iron gate with a grill and topped by two pillars on each side. The fence is also made of granite stone. In 1917, talk began of the new cemetery. Mr. Batlle states that he has obtained a written commitment from Joan Codines Terrades of some land that could be used as a new cemetery. It gives eight months for the City Council to make up its mind. The industrialist Ramon Sanesteve gave 1500pts as a donation, the price of the surface (two quarters). On August 3, 1919, Raspall drew up a cemetery project and on February 8, 1920, the civil governor returned the cemetery project because the chapel had been forgotten and the space intended for graves must be marked. On December 11, 1921, the cemetery was blessed. Burials then began.

Casa de pisos amb una paret mitgera. Costa de soterrani, planta baixa i dos pisos, i és coberta a tres vessants. Té dues façanes, una tramuntana i l'altra a ponent, la qual presenta unes galeries acabades amb una cornisa pròpia de l'autor, Raspall i Mallol. Aquest sector és rodejat per un ampli jardí. A tramuntana i a nivell de primer pis hi ha una tribuna vidriada. Al centre de l'edificació sobresurt una llanterna. És construïda amb rajols i la façana és decorada amb pedra, arrebossada i estucada, i té bonics elements de ferro forjat. La teulada és de teula àrab i vidriada. La casa es troba en un lamentable estat d'abandó per bé que alguns sectors encara són habitats. Amb l'expansió urbana de Vic, a principis del s. XX, és traçà el nou c/ Torras i Babes que venia a substituir els c/ Santa Teresa a la sortida de Vic cap a la carretera de Sant Hilari, que promogué més tard la urbanització cap el sector de llevant de la ciutat fins enllaçar amb els edificis del c/ dels Caputxins i cap a la carretera de Roda. La casa Collell fou dissenyada per l'arquitecte M. Raspall i s'acabà de construir al 1921. Acabada la Guerra Civil, en Manel Gausa la degué refer dels desperfectes de la guerra, conservant, però, el modernisme típic d'en Raspall.

Residential building which is the result of a renovation of three existing buildings. It consists of a ground floor and two landings. It follows the typical typology of the old town, as it creates a courtyard on the façade limited by buildings. There is a great mixture of elements and forms. The façades are sgraffitoed. The building as a whole, façades and adaptation of the interior correspond to Raspall's third stylistic period, in an academic line and perhaps with a more Frenchified taste, less academicist than his other works. The Viader House was formerly the Anglada House, one of the houses that stand out in the 1777 plan along with the Lledó Tower and the Bell-lloch mansion. It is included in the network of refurbishments and new constructions in the old town that from the end of the last century and the beginning of this one shaped a new physiognomy of the old town as well as the development of new urban thoroughfares. Many refurbishments took place: the creation of Plaça Sant Joan, the opening of Carrer Sant Antoni, Carrer Ferran, etc.

House between partition walls, with a ground floor and two landings. The building is divided into two bodies: an access one that protrudes from the plane of the façade and ends in a pediment with a geometric structure, and a lower one that is crowned by a large cornice supported by panels. It must be said that the windows are of different typology. The façade, especially regarding the entrance, has been renovated in recent years by the architect J. Valls. It belongs to the Noucentista and academic stage of M.J. Raspall. It is located in the old part of the city, in the urban centre of the Middle Ages.

Casa unifamiliar i zona enjardinada. Destaca la façana principal, d'estil purament modernista amb elements remarcables: un gran portal i sis finestres a la planta baixa i una balconada amb ferro forjat i quatre finestrons a la part superior. Aquestes finestres i els finestrals de la planta baixa són acabats en la part superior de forma esglaonada. A la façana lateral esquerra i seguint les pautes de la principal hi trobem una tribuna. La barbacana està formada per rajoles i permòdols de fusta. L'edificació d'aquesta casa és paral·lela a la de Gaudí-Safores, realitzada pel mateix arquitecte. La casa Ripoll es pot emmarcar en l'estil modernista que, tot i la seva simplicitat, és un dels exponents més importants de Centelles.