Detached house between partition walls in a corner position. It consists of ground floor, floor and attic. Seated on top of a masonry plinth. The walls of the ground floor are of ashlar up to the brick impost. The openings are circled with exposed work. At the entrance door and balcony there is a depressed convex arch, stylised in a very personal way and another depressed concave one. From the impost, the walls of the façade are of exposed masonry and the openings are of stone. The roof is gabled making a corner. The eaves are supported by worked wooden corbels and between the corbels there is a border with geometric motifs. Under the eaves there is a double arch. Next to it, a single-family house was added between partition walls. It consists of a ground floor, two floors and a tower. Seated on a masonry plinth. The arches of the openings are a free personal interpretation of the vaulted convex depressed arch. The walls are of exposed construction except for the lowest part, which is of ashlar. On the second floor there is a tower that leads to a viewpoint, the roof is made of clapboards and there is a metal railing. The lintels of the openings on the ground floor are stone. Stone corbels support the pillars of the gallery on the second floor. The roof eaves are an extension of the building next door. It is the first work of the architect Manel Joaquim Raspall, and he made it before finishing his architecture studies. It is about the refurbishment of Can Mayol, today Can Raspall, carried out in 1903 in his mother's manor house. He reinforced the primitive Gothic character of the building, keeping the ogee windows and the crowning arch and at the same time introducing new elements of the aesthetics of the moment: railings with wrought iron and floral motifs, leaded glass in doors and windows. Extension of the house in 1920.

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.

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.

Civil building. Detached single-family house. It consists of ground floor, basement and attic. It sits on top of a masonry plinth. Vertical communication is through the tower, which ends in a viewpoint. The cover is on two sides. The sills are stepped and rated with ceramic buttons. The eaves are supported by wooden corbels. The stucco of the corbels is with floral geometric motifs that are repeated along the entire eaves in the form of a border. It is the first work of Planas Calvet in La Garriga.

Civil building. Detached single-family house. It consists of a semi-basement, ground floor, floor and attic. The walls of the semi-basement are plastered with masonry. Gable roof with glazed Arabic tiles. There is a tower with a square plan which ends with a viewpoint. Vertical communication takes place in this same tower. On the ground floor there is an open gallery or portico with cone-shaped arches. The openings are framed with stuccos with floral geometric motifs. There is a perimeter impost or border made up of alternating tiles. Inside the garden, in front of the main façade, there is a pergola built in the Noucentista period and style. Today it is partially dismantled, but it retains the supporting structure of two small temples, each designed as a set of double pillars at the outer ends and double columns inside, which draw a quadrilateral in plan. They are crowned with an entablature and cornice, and at each angle there is an ornamental ball. The lateral and rear intercolumniations are closed with an openwork trellis of wooden slats arranged in a rhombus shape, where access doors and portholes at the top. On the entablature supported the ceilings, made with a wooden framework, and the pergola itself, which took the form of a barrel vault made with wooden slats and metal wires. These elements that gave shade are the ones that have disappeared. It is the most interesting work of Planas Calvet together with the Santamaria house. It corresponds to the stage closest to the architect Vosey, and in particular to the house in Bedford Park. The isolated tower model was born and proliferated with the summering phenomenon of the bourgeois of Catalan cities, but especially Barcelona. It started at the turn of the 19th and 20th centuries and lasted until the end of the 1920s.

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.

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.

Civil building. The complex is made up of three bodies: a central one, which consists of a ground floor and a main floor, and two lateral ones with a single floor. The building is based on a plinth of masonry. The openings are rectangular and are framed by a lintel where there are sculpted ceramic buttons and other typical details of modernist decoration. The three buildings that make up the complex are topped by a gable of sinuous shapes. The openings of one of the lateral bodies are protected by a wrought iron grating.

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.

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.

Detached single-family house with a party wall to the north. It consists of a basement, ground floor and attic. Encircled openings, lintel with pediment arch and rectangular encirclement. Gable roof. There are modernist details in the ceramic balustrade of the entrance gallery... The pilasters that frame the gable are decorated with vegetal reliefs. The balcony and the ceramic panel are surrounded by a border of vegetal reliefs. As a characteristic element, we should highlight an allegorical ceramic mural of the Virgin of Montserrat, surrounded by two pilasters that also frame the balcony on the ground floor. In 1914, a remodelling was made: a gallery and south-facing pediment were added. Extension of the building to the northern party wall and entrance door and balcony railing. The works were carried out following the project of the architect Emili Sala Cortés, while the owner was Mrs. Dolors Veguer de Feliu. The building was already the work of Emili Sala in 1886.

The building was constructed on the site of a 17th century house that was demolished by order of Blanca Mitjà. It was located at the foot of the royal road, in the historic centre of La Garriga, opposite the Santa Isabel square and the site that had been occupied by the Hospital de Banys until 1881. It is a civil building built between partitions and on a corner, with a façade on two streets. It consists of a ground floor and two floors originally intended for summer residences. The façades are flat and have a classical layout. They are structured on the basis of vertical axes of openings; five on the main façade and seven on the side. Horizontally, the forging lines are emphasised with a solid railing on the first floor and prominent cornices on the second floor and also on the top. The two façades are covered with sgraffito work: the ground floor and the corner are covered with a broken ashlar stucco. The rest have various motifs such as baluster railings, lintel pediments, vases, geometric elements, pilasters and floral elements. Of particular note is the representation of four female figures representing the four seasons. This building is representative of Duran i Reynals' architecture – it represents a conscious return to Renaissance language due to the imposition of rationalist trends. The Mitjà House was built in 1942. In 1987, the interior was completely refurbished and the openings on the ground floor were modified, although the sgraffito work was preserved and restored.