Three metre-wide canal which about sixty metres long. It is in the open air, through which a sheet of clear water passes. The box is flat and is built with solid brick. When it passes under the mine house it is channeled, with a semicircular vault of two rows of solid brick. The arrow is 2.2 m. The access is barred by a wrought iron bar grid, which incorporates a locked door. At the mouth of the outlet there is a tombstone, in very poor condition, which cites the purpose for which these waters were intended, as well as the date of construction. There is a second illegible inscription quoting the date 1822. On each side of the headstone there is a rail of iron pipes, which had formerly been balusters. Above the headstone there is a circular pediment. Just above the canal, and about 10 metres from the mouth, we find La Mina House. This small building has the following dimensions: 11 m of main façade and 8.5 m of depth. It consists of a ground-floor body, with a gable roof of Arabic tiles, where the access door is, and another two-storey building, which was been extended with a third floor during the last renovation (1993). The façade of the first body is symmetrical, with a thin arched portal and two windows, one on each side, with the corresponding wrought iron grille. Above the door there is a shield which says "JUNTA DIRECTIVA DE AGUAS DE LA ACEQUIA CONDAL Y SUS MINAS. BARCELONA". The top consists of a powerful cornice following the slope of the exposed brick roof. The other body has a plinth, one window per floor, offset from the axis of symmetry, framed with exposed brick and a segmental arch. The corners are also made of exposed brick imitating ashlar. The third floor has a light wood and glass enclosure and a large sheet metal overhang. The activity centre has been built behind this building, with a usable terrace. From this building you can see and access the mine through the underground floor, which is illuminated. During the Roman period, the city of Barcelona was supplied with water by means of three aqueducts, one of which took the waters of the Besòs through a dam and followed the layout of the later Rec Comtal, except for its final part, which in height entered the city through the Roman tower of the Archdeacon's house. Used during the High and Low Empire, it fell into decline in the 8th and 9th centuries, when it was replaced by other forms of collection and supply. Throughout the early years of the Middle Ages, the old water conduit systems remained abandoned and were often considered as just another element of the landscape. On the other hand, the county initiative on the process of irrigating land that was carried out by the farming communities throughout the 9th and 10th centuries was almost non-existent. Although the rec comtal does not appear in the documentation until the end of the 11th century (1075), this canal was already known and used before the year 1000. The aim of the works of Count Mir (954-966) in restoring the ancient Roman water supply channels in the city was, above all, the development of milling and other artisanal activities that developed in the plan of Barcelona. Initially, the river took the waters of the Besòs through a lock made of stones and logs. In 1457 it was decided to build a more solid one made of mortar. The economic and even political importance of irrigation has been evident since the beginning of the Middle Ages, and the control of the Counts of Barcelona over its waters and their uses was consolidated throughout the period feudal. During the Middle Ages, El Rec was part of the royal heritage and was administered by the mayor. From the 14th century onwards, the figure of water marshal and administrator of the royal mills of the city and territory of Barcelona appears. These positions, however, were abolished by the Nova Planta Decrees of 1714 and their functions came to depend on the intendant. The continuous droughts that reduced the supply flows in the city of Barcelona caused, since the Middle Ages, different attempts to use the irrigation system for the supply of drinking water in the city. Finally, in 1704, part of its flow was diverted to Barcelona, in order to feed the public fountains. In 1778, during the reign of Charles III, it was decided to take advantage of the subalpine waters of the Besòs by opening galleries under the riverbed and setting up the Mina de Montcada, which with a length of 1430 metres, 2 in width and 2 in height ended in the Reixagó or La Mina House. However, the construction of this new complex was promoted by private initiative, under the direction of the Royal Intendant (Juan Felipe de Castaños). To control the works, a board was created made up of representatives of Real Patrimoni, Barcelona City Council and the owners of mills and irrigated land that used their water. The project was in charge of the engineer Josep Subirats and architects Joan Soler and Josep Mas i Vila. The new construction was crowned by a tombstone with the following legend "with the object of permanent supply, with notable utility of the public at the expense of the Royal Erafio of the City of Barcelona, and of those interested, mills and land irrigation in the reign of His Majesty Carlos III, designed and built by the illustrious intendant Baron de la Linde". The mine was subject to several extensions: 1822 (Liberal Triennium) where the Royal Heritage did not participate in the expenses, 1836, 1839, etc. In 1839, according to a document from the Cultural Foundation, a tombstone (today illegible) was placed with the following legend: "At the expense of the excellent City Council of the City of Barcelona, of the irrigating owners who have the right to the use of the waters of this mine, and of the owners and participants of the mill, except the Real Patrimonio, 144 rods were built in 1822, and in 1838 and 1839, 333 rods in total". The mine, a construction made of masonry on the walls and brick on the vault, had two main branches, one started in the Ripoll river, and the other, the most important one, in the Besòs, in front of the Bonet Tower, and crossed Montcada through the underground to Reixagó. Along its route, a series of log wells connected the tunnel to the surface. At this point the water was separated between the Barcelona City Council and the irrigators and owners of the mills. In 1825, the low mine was built, consisting of 10 kilometres in length, which originated in the Reixagó, headed towards Barcelona, passed through the right side of the Eixample and ended in El Repartirador de Jesús, from where it was distributed in the lower part of the city (Canaletes, Portal de l'Àngel, Porta Ferrissa, etc.). In the 19th century, and as a result of the prolonged droughts that reduced the flow of the Rec, and caused serious harm to the population, the Barcelona City Council built, near the Besòs, a plant for capturing and treating underground flows. This is the group of buildings of the Montcada wells, built in 1879 according to a project by Barcelona's municipal architect Antoni Rovira i Trias.

The current state of the building has nothing to do with the initial one, as it had a garden with a gate of great value on the left side of the house, which mainly faced the street. Can Vila was one of the most successful summer houses on Carrer Major. Despite everything, it has preserved the modernist imprint on the façade. In this still preserved part, and in the façade photographed from Carrer Major, there are two bodies, the protruding one as a lookout tower with another lower body. The distribution of plants in this case corresponded to a second floor, a third floor and the gallery, if we count from... House built in 1891. It is likely that Enric Sagnier i Villavechia intervened, in the same way as he did in the project for the fence grid.

Torre de Can Bonet is part of the Modernisme artistic movement, reflected in its structures, openings and decoration. Its main feature is a building built from a plinth, which in this case is made of well-fitted stones. From this work, which surrounds the entire perimeter of the house, the walls completely painted in white start, that is, where the opening elements and decorative elements have been arranged. The structure of the house forms a confluence of protruding bodies from a square plan. All the rooms have access to the outside through windows or balconies, which represents a maximum use of natural light (one of the principles and concerns of the time). These bodies all have a ground floor, a main floor and an attic. The type of openings, always based on more or less elongated rectangular windows, is one of the most successful examples of the building, due to the shape of the upper part and the use of exposed brick. On the ground floor there is a combination of round arches and trilobed and pointed variants, with the upper brick framing in some of the cases simulating the typical discharge arch. There are two entrances - one is the main entrance to the house and the other is an exit to the garden. The main entrance has a rectangular door with a treatment of the layout of the bricks which depresses the opening to end in a kind of discharge arch and at the level of what would be the impost, where there is sgraffito decoration. At the top, the door has a protective roof (porch) of glazed tiles, supported by brick permodules and resting on the wall. Below and between the permodules there is a sgraffito frieze with the text "Ave Maria". The roof has a decorative crown of two balls. The second door, considered to be the exit to the garden, has similar characteristics. It has a brick porch supported by columns and on the side attached to the wall. Along the floor, you can see the alternation of windows and balconies with the typologies already described, only adding wrought iron work when it comes to the balconies. The balconies are cantilevered, the slabs are on the support of wrought iron modillions and the railing of vertical bars with circular decorative elements in volute. The upper part continues the treatment of the arrangement of the brick within the three-lobed variants. There are ceramic elements in the impost. At attic level, the openings alternate from two to three and some openings with different types of arches, both round and pointed. Attached between the south-east bodies there is a square observation tower divided into a ground floor and three floors, with the gallery under the roof. Along its walls there are window openings corresponding to the typologies already described, as well as inside the upper part, where there are sgraffito corner elements and different coloured paint framing the open gallery area under the roof. The roof of the tower has glazed tiles combining red and green. Regarding the roofs of the other bodies, it should be mentioned that they are gable roofs covered by tiles with the same combination as before and a ridge perpendicular to the façade. The finish is in straight cantilever breaking the rhythm of inclination with support at each end by means of permodules. At the back of the house, a protruding circular body (like an apse) stands out, intended for the smoking room (ubiquitous space in the distribution of rooms in the house and especially the tower house). It is circular in shape, as evidenced by its projection on the outside, and of a structure similar to garden gazebos as an isolated element of the house. The base is like the plinth that surrounds the house, from which round and smooth support columns decorated with white, blue and yellow ceramic mosaic forming an undulating pattern rise. The entablature is straight forward without mouldings of any kind and from the line of permodules a decoration is formed, first of undulations and spirals, and then a thinner one (a naturalistic effect that perhaps represents water). The sustaining permodules correspond to each of the columns in number and location, presumably the effect is decorative rather than sustaining. The tiles are combined in red and green. On the main façade, at the level of the first floor and above the entrance door, on the right hand side, there is a statue attached to the wall on a plinth, as well as under a canopy, which is made of brick and a conical crown with ceramic mosaic coating. The whole complex is a very successful work of the modernist architect to which we must add, for information purposes, a whole annex of water features that ran along the path from the top to the entrance of the estate, which gives that naturalistic spirit of movement and dynamism that fully characterised the phenomenon of Modernisme, the Catalan Art Nouveau. SHARECROPPING The country house is a building with a rectangular plan, taller than it is wide and which on its main façade shows a ground floor, a main floor and an attic. The entrance can be from the outside of the fence, at the foot of the road, or through the side façade within the boundary of the fence. The two entrances are rectangular doors protected by a roof of three trefoils and the upper one, almost non-existent, with glazed tiles and decorative crowning balls. The door of the side façade has the protection with a gable roof. The window openings have a rectangular formulation. On the ground floor and on the main façade there is a pair of windows - in the "coronella" style - with a lintel arch with a depressed top (reversed funnel feel). On the floor, the rectangular windows continue, with a brick sill and an arch formulation, depressed by the arrangement of the bricks as well as the widening of the lintel giving the sensation of a curtain. In the attic opening there is a window with a lowered arch variant and closer to the discharge arch. The gable roof has little overhangs ending with straight ends. At different points of the façade there are perforated ceramic motifs with ventilation functionality. To the rear of the house there is a lower body with garage functions as well as another auxiliary body below. It is in the same style as Torre de Can Bonet. Summer house from the end of the 19th century. It was built by Josep Domènech i Mansana (1916) for Mr. Manuel Bonet, who was from Tarragona and, after getting married, he moved to Barcelona, where he founded the House of Patents and Trademarks. His only son, Bonet del Rio, was deputy mayor of San Sebastián and of Barcelona, representative of culture and president of the Art Centre. After the Spanish Civil War they wanted to return to the house, but times had changed and they didn’t. Currently, the Generalitat de Catalunya wanted to acquire it.