Only the cellar remains of the original country house, as it was completely renovated. The rehabilitation of 1904 destroyed the beautiful architectural lines that it possessed, characteristics of the Catalan manor house, despite the remarkable interest formed by the final result, classifiable within the Catalan Art Nouveau current of medievalist orientation. It should even be noted that the pre-existing scheme is clearly maintained with a central body of three frames, to which the chapel on the right and a body completed by a gallery on the left are added. The house is in the middle of a garden surrounded by a winding wall. The resulting set contains a large number of elements of medieval reminiscence. It has interesting internal decorative elements, among which the beautiful ceramic details, added in the last refurbishment, and the beams from 1904 stand out. On the ground floor there is a lintel from 1403 and inside another from 1669. While on the first floor there is one from 1703 and crowning the building the one from 1904. In 1904, the rehabilitation project was carried out by Joan Bta. Modolell. It consists of demolition works and reconstruction of the entire hall that contains the gallery, as well as the one-metre elevation of the central part of the roof and the construction of the chapel and the fence wall. It also includes the repairs of the façades.

Noucentista complex by Marcel·lí Coquillat located around a farmhouse from the 16th - 18th centuries. The farmhouse is a three-bay building with a double-sloped roof and ridge perpendicular to the façade with an added body at the back covered with a double slope and off-centre ridge. It has a ground floor, main floor and attic with a symmetrical composition of the openings. The portal, located in the centre, is vaulted and accessed via a five-step semicircular staircase. It is accompanied on both sides by two stone windows, the one on the right is molded and has a sill. On the first floor two molded stone windows open on each side with a central balcony covered with a small gabled roof and an almond-shaped sundial. In the attic you can see three openings of recent manufacture. To the right of the farmhouse, we can find the 19th century tower. It is a quadrangular building with a built-up roof. In the central part a square lookout tower stands with a roof on four sides and watchtowers at the top crowned with pinnacles. A glazed gallery of undulating shapes protrudes from the main facade, which is accessed by a staircase of eight semicircular steps. The roof constitutes the balcony of the first floor. On the east façade, a semicircular body protrudes, the roof of which serves as a balcony with a side opening. The rest of the openings combine rectangular and compound shapes. A rectangular body is attached to the rear façade which serves as a first-floor terrace. The wide wooden eaves crowned by an acroterium at the top of the ridge should be highlighted. To the left of the farmhouse there are the stables. It is a double building with a U-shaped front body with a ground floor covered on one side. On one of the sides a polygonal tower stands with a pavilion roof. In the centre, a large wooden door covered with a gabled roof gives way to an L-shaped rear body covered with gables with the ridge running parallel to the façade. In the north corner there is a second tower with similar characteristics to that of the previous body but with a circular plan. All these structures are located on a terrace delimited by masonry walls covered with stone and crowned by a balustrade of wavy shapes. The east side of the wall is crowned by a profusely decorated wrought iron trellis. In the north-eastern corner of the enclosure there is a viewpoint with a circular plan which is accessed by a staircase attached to the wall that takes the form of a curve. It is made with the same construction equipment as the fence, covered with a metal structure in the form of a pergola with a tiled roof placed in the form of scales. Outside the complex there is the chapel, which is part of a garden area. It is a single nave building with a gabled roof preceded by a large porch of lesser height and a gabled roof with a large central opening of a semi-circular arch and buttresses at the corners. At the back there is the apse, pentagonal in plan and lower in height with a composite roof. Can Bordoi is a farmhouse documented in the 13th century. It is mentioned in the 1553 census as "en Bordoy". The noucentista work is a commission from Josep Comas i Masferrer (1842 - 1908), a Catalan industrialist and politician, founder of the Monarch Liberal Circle, deputy and provincial senator for Barcelona and president of the Barcelona City Council. It is believed that the building was built by the architect Marcel·lí Coquillat, because there is a plan of an architectural element of the garden not built but signed by him. The whole set is of a stylistic homogeneity that suggests a single author.

House that takes up an entire end of the block, with three sides facing the street and the fourth acting as a party wall. It has a ground floor and two landings. A ground-floor stands at the corner of the boulevard with Plaça de Llorens i Barba, a three-storey tower with a pavilion roof, which forms part of the image of the boulevard. The side gallery with roof is interesting. The asymmetrical composition of the façades combines elements of various styles: "revival" windows, modernist mouldings, noucentist balustrades, etc., that insert the work into the eclectic current of the beginning of the century. The Elias Valero House project is shared by the architects Santiago Güell and M. Coquisllat. The work plans were presented on July 19, 1910. Since 1985 it has been the seat of the Berger Balaguer Forum.

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.