Located within the grounds of Colonia Güell, it corresponds to a large building made up of a main body, plus others attached to the north, east and west. It has a chapel dedicated to Our Lady of Sorrows on the western side. The main building has a basilica plan with a ground floor, first floor and attic, with a gabled roof made of Arabic ceramic tiles. The main façade faces south and on the ground floor there is the access door, made with a half-point arch defined by exposed stone dowels. The date 1692 is carved into the central dome and above it, in relief, what looks like a sun. Unfortunately, it is partially destroyed by the construction of the balcony on the first floor, corresponding to a later reform. Still on the ground floor and on both sides of the door, there are windows with wrought iron bars; the one on the west is larger and has carved crosses and rosettes on the lintel. On the ground floor, above the door and each of the two windows, there are three balconies with jambs and stone lintels with inscriptions. On each side of the lateral balconies there is a semi-circular arched gallery. Regarding the inscriptions on the lintel of the central balcony, we can read Iesus Maria and Antoni Solé, both names separated by a monogram IHS. The west window bears the date 1700 and a border with the monogram IHS, and the east window reads 1622 and a sculptural motif with the monogram IHS. Finally, above the central balcony we find the attic, where there is a set of five semi-circular arched windows that start from a running impost that collects them all. Still on the main façade, there are more items of interest. To the east, under the window there is a small, recessed sandstone basin, above a stone block which supported a spout with the date 1778, above which there are some illegible letters. To the west of the main door, there is a built-in bench with plinths with green and white glazed Cartabo tiles. The main door has a double wrought iron door, of medium height, which was used to close the access when the large wooden portico was open. Finally, also on the main façade, between the first-floor balconies are the remains of two twin sundials. The finishes of the chimneys of the main building are also noteworthy, with clearly modernist ornaments. The main body has another building attached to the north, with a ground floor and two upper floors with the façade facing the urban park of the colony. On the ground floor, the openings are small and without decoration. On the ground floor, a central balcony stands out supported on metal corbels with an opening with a lowered arch with a large stained-glass window. Both to the east and west of this, there is a balcony and a window with openings protected by dust covers. On the upper floor there are small openings under the roof eaves. The east side façade is open with six semi-circular arched windows that correspond to one of the galleries on the ground floor. The western gallery is closed by the side façade, as an annex is attached to it. The wooden floor covering the gallery room is in good condition. Forming a right angle in the western sector of the farmhouse, there is a chapel dedicated to Our Lady of Sorrows with a gabled roof. It has an access from Plaça de la Masia, through a defined rectangular door of lime and stone lintel. Above there is an oculus that respects the central axis of the façade which is crowned by a curved cornice and has a belfry on the west side. At an angle to the chapel there are the facilities and warehouses with a dry cistern where there is a sun-shaped stone sculpture called "El Soley", which looks like an old sundial, but it is currently located in the shadow. Originally the construction must have been a defensive tower, in fact in 1444 it appears as Torre Burguesa, and for four centuries it was owned by the Soler family. As can be seen from the lintel of the east floor window on the main façade, in 1622 Antoni Soler de la Torre undertook the first major renovation, to convert it, surely, into a three-story farmhouse, with a similar floor plan to which we have reached today. It is therefore plausible to think that the original construction had a large entrance in the central body, cellar, stable and kitchen downstairs, the room above the entrance, which distributed the rooms arranged on both sides, and the attic at the top. Antoni Soler was one of the leaders of the peasant revolt called the Barretines (1687-1689) and, because of his rebellion, he was killed on December 2, 1689, and Can Soler was ordered to be demolished and salt thrown in their lands. His son Antoni and his son-in-law, Joan Roure, recovered the building by special grace of the King. The inscriptions on the key to the vaulted portal "1692" and on the lintel of the balcony on the west side of the main façade "1700" refer to the period in which these two owners lived. After the landing order, the house was rebuilt or redone, and possibly the lintels with the crosses and rosettes, which are of medieval character, must have been reused and belonged to the old tower. From that moment on, the farmhouse became one of the most prosperous in the region. Surely in the 18th century and coinciding with the economic rise of the family, the chapel dedicated to Our Lady of Sorrows had already been built. In the 1740s the family had left the land in the hands of landowners to reside in Sant Boi and then, around 1826, settled in Barcelona. In the middle of the 19th century, the Solers began to incur debts and, in 1860, after the death of Baldiri Soler de la Torre i Ubach, his younger brother, Joan, sold the estate to the industrialist Joan Güell i Ferrer, when it was the most extensive in the area of Sant Boi de Llobregat. In 1890, Joan Güell's son, Eusebi Güell, began the construction of Colonia Güell on the grounds of Can Soler, which was surrounded by the textile factory to the south and the workers' houses to the northwest. Shortly after, Güell commissioned the renovation of the interior of the house to Francesc Berenguer i Mestres, Antoni Gaudí's collaborator, in order to host the family during their occasional stays. He erected parabolic arches, like the one that provides access to the chapel from the farmhouse, modernised the bathroom and the kitchen, and provided some rooms on the floor with fireplaces. He also renovated the dining room with wooden beams, a fireplace and wood and iron applications on the ceiling, from the centre of which hangs an iron and glass lamp, the design of which some scholars attribute to Gaudí. Then, the old Sorrows chapel worked as a church for the colony's workers, until the temple designed by Gaudí, dedicated to the Sacred Heart, was opened for worship in 1915. In 1892, Güell succeeded in segregating the estate, which at that time it was already included in the municipal term of Santa Coloma de Cervelló, of the parish jurisdiction of Sant Boi and united it with that of Santa Coloma. During the Spanish Civil War, Can Soler was used as the seat of the City Council. In the 1960s, the Güells sold the farmhouse to Teresa Farré and Pedret, and in 1998 Fèlix Sánchez and Janin Vacassy bought it. Part of the interior decoration of the main floor could be attributed to Francesc Berenguer i Mestres. Among the buildings linked to the estate, there is also an old water mine that runs parallel to the Can Ros Road, also known as "La Masia".

The factory site from Colònia Güell is separated from housing and services. It rises to the east of the Masia de Can Soler de la Torre, defining a closed enclosure with different buildings; some connected to each other, but all of them connected by streets that allow the traffic of some buildings to the others. The site still maintains the original structure, and the streets used to be named verbally by the dominant productive section. Although the site is slightly transformed, much of the original buildings are preserved, all of them made of exposed brick and of three types: factory floors, lattice buildings, and sawtooth roof buildings. Among these buildings, the Spinning one stands out, built following the English model, also called "Mancunian", and which consists of the distribution of the building on a ground floor and four equal floors of open plan, with large windows and where each of which comprised a different process of spinning. The steam engine was located there. In other buildings, the layout of the brick stands out, placed on an edge forming small openings in a rectangular or triangular shape, which facilitated ventilation. Mention should also be made of the Calderes building, located between the "streets" of the steam engine and that of the dyes. Right in front of this construction with a rectangular plan and with a gable roof is the body of stairs, elevators and transmissions of the spinning building. In the basement of the "street" steam engines were the coal mines, and at the end of the street there is the old building of the electricians and the transformer that was bombed in 1938, specifically on the 11th of September. The factory also had two large water tanks, one with a square plan, attached to the wall facing Can Soler de la Torre, and which is currently an industrial building. The other, built more recently (since it is made of concrete) has a circular floor plan and overlooks Plaça de la Masia. The colony, unlike others, never used hydraulic power, and worked with steam. Evidence of this is the large cylindrical chimney, 46 m high, which is still standing. The wrought iron grill of the main entrance to the colony is also preserved, as well as the grill of the door through which the workers accessed, apart from other annexed buildings where there would be offices and services of the factory. Other elements preserved in the site are the tunnels for the extraction of burrs and the transmission tunnels (currently used for services). The four wells are also preserved, two out of service, the one in front of the spinning mill and the one of the spinning mills, and two in service. This well was one of the most important built at the end of the 19th century, it was 14 m deep. In 1908, a second group of boilers and a steam engine was installed in the building. The factory was electrified in 1915. Although there are some companies based there, the buildings are in a dilapidated state and have lost their roofs. The enclosure is completely enclosed by a wall that delimits its perimeter. After the death of Baldiri Soler de la Torre i Ubach in 1860, his younger brother, Joan, sold the Mas de Can Soler de la Torre and all its land to the industrialist Joan Güell i Ferrer. In 1890, Joan Güell's son, Eusebi Güell, began the construction of the Colònia on the grounds of Can Soler, and commissioned several projects to Gaudí and other renowned architects such as Francesc Berenguer i Mestres, Joan Rubió and Josep Canal. The colony had a doctor's house, a pharmacy, an inn, a school, shops, a theatre, a cooperative, a chapel, workers' housing and, of course, the factory, unarguably the most important element. All this was concentrated in a total area of about 160 hectares. It was originally the "Factory of corduroy and velvet Güell i Cia" and its history was always linked to the foundation of the colony, becoming a clear example of the impetus that the textile industry had in Catalonia from beginning of the 20th century. In the factory, the cotton, which came from America, was transformed into corduroy and velvet. Each of the factory buildings was intended for a specific task within the process of transforming the raw material into the final product. A reflection of this can be seen in the name verbally given to the streets, which refers to said activity, such as the spinning building, the looms, the dye, banners, etc. Apart from these buildings, inside the factory there were also some service buildings such as the offices, the medical office, the draftsman's office, auxiliary workshops for carpentry, tinkering, electricians, brokers, masons and painters. The transport of material between the different buildings was done by means of a network of rails and wagons that were pushed throughout the factory premises. On the 11th of September 1938, a national plane dropped two bombs on the factory. The first hit the transformer and left the factory without power. The second fell in some carob fields, outside the compound, and did not explode. Neither caused personal injury. In 1944, the factory was acquired by the Bertrand Serra family. After almost a century of uninterrupted production, in 1973 the factory closed for good, and the premises remained unused until the 1980s, when it was leased to the Crèdit & Docks company for warehouses, and economic activity was reactivated with the installation of different workshops and companies. Later it was sold in parts and a community of owners of the industrial site was formed. However, the site was not ready for the current needs of the industry and, despite some improvements, it was not fully consolidated. An urban planning that has been postponed for years and that has encountered many difficulties despite the efforts made was pending. In 2002, the company Colònia Güell S.A. bought everything that was for sale in the site, 62%, with the aim of installing a business park or Brain Business Park, that is to say, a space for the development of companies and economic activity specifically related to the world of technology, of 70,000 m². The architect Òscar Tusquets restored and rehabilitated the Filatura and Tint Vell building between 2001 and 2004, where different offices are currently based. The restoration of Òscar Tusquets earned the Bonaplata Prize for Rehabilitation of Industrial Buildings in 2005. The Special Plan drawn up by Jordi Rogent and Manuel Giralt, which has not been implemented, received the Citta de Terni Industrial Archeology Prize the same year. Various circumstances have stopped the start-up and full recovery of the site until today. The building of Les Filatures and Tint Vell stands out as the standards, the chimney, the wells and the tanks.

Set of two buildings with a simple line and structure, which follows the Catalan Art Nouveau principles in its historicist aspect. The theatre presents a two-storey façade with a gable roof and with some finishes simulating a non-existent turret, like Danés i Torras’ type 2-IV country houses. But this is reduced to a vertical extension of the façade wall without any subsequent structure. On the ground floor there is a central door with two large rectangular windows now boarded up that retain their initial forgings and dated from 1903. The first floor has a small central opening and a simple border of sgraffito simulating a pediment that frames the name of the theatre and date of construction. The annex building, the café, also follows the historicist line but more like a manor. It has two floors, with large rectangular openings on the sides of the door on the ground floor and three balconies on the first floor, the central one a little bigger than the lateral but without other extensions. Both the doors and the windows are highlighted by a wide strip of smooth stucco just like in the theatre. This feature and the wide common plinth is the nexus of physical and aesthetic union between the two buildings, probably connected by the interior, as was usual. In the construction of the colony, the recreational aspect could not be neglected in order to achieve an authentic social atmosphere. The creation of the café and the theatre, if we stick to the dates, started earlier. At the beginning of the century, gathering for coffee, playing cards and having small talk were, together with professional or amateur theatre, the most common distraction (someone said that "if Catalans don't go to the theatre much it's because they are all on the 'stage...'). The café still stands to this day and is still the largest and liveliest in the colony.

Independent building made up of three terraced single-family houses, with ground floor, first floor, attic and basement converted into a garden at the back. Located in the residential area of Colònia Güell, it is the first building you see when you enter it. Work built around 1894, which, both due to the shape of its floor plan and the singularity of the façades and their symmetry, gives the building great originality. Although it does not have the typical appearance of a country house, it is noticeable how in one way or another the architect wanted to collect the most significant features of manor houses. For example, the building has a basilica floor plan and a gable roof, and the facing is made of stone conglomerate of various sizes bound with lime mortar, on which several structures are built. The marked historicist character of the building, beyond the appearance of a manor house at the front, is also reflected at the back with a construction on different levels and bodies. Undoubtedly, however, what stands out most about the building are the rounded corners, and the decorative elements, the filigree work with exposed brick is particularly relevant. This is visible in the windows, the three chimneys, the porch, the cistern or the eaves under the deck. The house was originally inhabited by the Ros de l'Ordal family, hence its name, and they are still the owners. However, other families such as the Cruañas, Gaudó, Montanès and Carrión have also lived there. All of them were farmers who worked the owner's land as tenants. Some members of these families also worked in the factory. In the interest of moving away from the existing social conflicts in the city, a new type of industry was proposed in the 19th century - the industrial colonies, i.e. the houses of the workers and equipment next to the factory, all in the same property, integrating its own nucleus with a social and economic life protected by the company. The Güell colony was an industrial colony dedicated to the manufacture of bread and velvet. Its construction began in 1890, and the project had an inn, school, shops, theatre, cooperative, doctor's house, pharmacy and chapel, in addition to factories and workers' homes, in a total area of about 160 hectares. Güell, in his capacity as a patron of culture, commissioned projects from several leading architects, such as Antoni Gaudí, Francesc Berenguer i Mestres or Joan Rubió. There used to be a well inside, but due to subsequent renovations to the building and new uses in the space, it has been modified.

House with an almost square floor plan, located on the corner of Monturiol and Malvehy Streets, towards which its main façades face. It consists of a ground floor and a first floor, in which horizontal strips of exposed brick alternate with others of stone conglomerate. The openings and other architectural elements are also solved with exposed brick. The most outstanding element is the door, located in the chamfer, and above which rises a little balcony on the upper floor. On the ground floor and first floor there are single and twined windows in the shape of an elongated hexagon. As a colophon and unifying element of the façade and the tower, there is a reticulated border of bricks, on which the whole is topped off by the railing of the upper roof. The building, designed by the architect Joan Rubió i Bellver, has a marked influence of the early Gaudinism in terms of the use of historicist elements of Gothic inspiration. The house was built at the same time as the rest of Colònia Güell. The date "1900" is written on the forgings of the entrance.

Quadrangular building with a gabled roof, isolated and surrounded by a small garden. It has a ground floor and a first floor, and has plastered walls. The exposed brick is useful to highlight the corners of the building and the openings, distributed in three axes. In the centre and on the first floor we find the entrance door with windows on both sides, a structure that is repeated on the first floor, but with a balcony in the centre. The windows retain their wrought iron bars. The double dented eaves of the roof and, below it, the zigzag frieze that conceals the attic vents, all made of exposed brick, stand out. The construction of the colony began in 1890, and it was equipped with cultural and religious facilities, with the workers' houses next to the factory, constituting an urban centre with its own and independent personality. The presence of a doctor and, therefore, his house, was indispensable within the various services offered by the site. Built around 1910, both its architect and the moment when it stopped being a doctor's residence to become a private home remain unknown.

Semi-rectangular building with a beveled end, located next to the BV-2002 road, right in front of the entrance to the Colònia Güell. It is a building that follows the aesthetics of many of the colony’s buildings, that is, ground floor and first floor with a gable roof covered with Arabic tiles. It is made of plastered brick, highlighting with exposed brick the corners, cornice and openings. On the ground floor we find the entrance door, defined by a pointed arch, on either side of which there are two twin windows topped with a pointed arch. In the chamfered corner there is a larger window, crowned with a pointed arch and canopy of the same shape. The distribution of openings is repeated on the first floor. Above the access door there are three large twin windows, larger than the rest of the building. On either side there are two twin windows. In the chamfered corner there is a blind window, and at the west end of the building there is a free-standing window. Colònia Güell was an industrial colony dedicated to the manufacture of corduroy and velvet. Its construction began in 1890, and the project had a doctor's house, a pharmacy, an inn, a school, shops, a theatre, a cooperative and a chapel, in addition to factories and workers' homes, in a total area of about 160 hectares. It was, therefore, an independent set where the workers worked and had all their basic needs covered. Originally, there was the "Cal Ninyo" inn at Carrer Barrau, 13. Later this was built in which, apart from serving food and drinks, there was room service, frequently used by assemblers and other passers-by who had some relationship with the factory.

Housing that is the complex or counterpoint of its complementary building, the School. It is constructed with stone slabs and has exposed brick openings, corners, a high band and spire, further emphasising the variety of levels, terraces and roofs giving it a 'magical castle' appearance and masking a simple plant in the shape of an L. The unevenness of the land favours its complicated aspect by favouring the different stairs, entrance, communication with the School, rear access from the private courtyard to the first floor, and creating a difference of one floor between the front and the back. The roofs are of glazed tiles in green and black, and on the chimney, there is, in glazed ceramic, the date of construction (1911). Historicism is obvious. In March 1890, the foundation stone was laid and the foundations of the new cotton factory that Eusebi Güell and Ferran Alsina installed around Santa Coloma de Cervelló were laid in order that "in this way the worker had better hygienic and food conditions...". This led to the construction of an authentic colony where the School and the Teacher's House could not be missing. Endowed with the best conditions available at the time, in 1987, the School still continued to function, although the Teacher’s House has seen its interior fragmented into two dwellings that fully respect its structure.

Gaudí worked on the project for ten years, and the works did not start until 1908. It is a kind of laboratory in the middle of nature where Gaudí alternates his discoveries with the works of La Pedrera, the Sagrada Família and the Park Güell. The crypt consists of a structure of inclined pillars of basalt stone, with a monolithic shaft, prepared to support the church that was intended to be built on top. The roof is formed by a complex system of thin brick catenaries that follow a very irregular geometry, guided by numerous allusions to the animal and plant world. The first rows of the wall system, darker, are followed by reddish rows, and the church was to continue with greenish tones and finally blue, the same chromatic order of the forest that surrounds it. Gaudí worked with catenary models to trace the vaults that were to complete the whole, although the crypt is the result of working on site with all kinds of found and recycled materials, such as window bars or waste bricks. Gaudí ends up printing numerous religious and Catalan symbols on all surfaces, such as the four cardinal virtues represented in the mosaic above the entrance door.

Commemorative monument erected in the middle of the main square of Colònia Güell in memory of its founder, Eusebi Güell Bacigalupi. It consists of a stone pedestal, on which there is the inscription, in classic typography, "From Colònia Güell to its founder, Eusebi Güell i Bacigalupi, in the year 1890" (sic). The pedestal is stepped in three parts: a cross-shaped base decorated with a double garland in relief, a central part, also in the form of a cross with two large symmetrical volutes that support two crowns of white Carrara marble, and an upper prism that serves as a seat for the sculpture of Eusebi Güell, who carries a book in his left hand, made also of Carrara marble. The sculpture was made by the Oslé brothers in 1935, as is probably the case with the pedestal of classical lines, within the aesthetic canons of Noucentisme. At the back, the pedestal is used to locate a public water source. Apart from the part that gives access to the aforementioned fountain, the monument is surrounded by a garden area enclosed by a wrought iron railing with borders and garlands.