Enfront del castell de Balsareny i situades al Serrat del Maurici. Es tracta d'una construcció militar d'època carlina (1838) de planta pràcticament quadrada, amb tres torres de secció circular als vèrtexs, excepte pel cantó de llevant on no n'hi ha. Les pedres, de dimensions considerables, subratllen la funció militar que tenia la construcció. Només hi ha unes petites obertures pel cantó de migdia. Queden rastres d'algunes petites obertures en forma d'espitllera. Hi ha restes del que devia haver estat un vall. Les ruïnes del fortí es troben dalt d'un serrat conegut amb el topònim de "Serrat del Maurici", topònim que dóna nom també a aquesta fortificació. Segons notícies recollides, el fortí va ser construït l'any 1838 per una força de Sapadors i una brigada de muls. Els treballs duraren forà temps i finalment s'hi instal·là una companyia del batalló del Júcar. A finals del segle XIX ja estava en runes. Aquest fort i el de la Torreta, situat sota el castell de Balsareny, controlava el camí ral de Berga. La seva construcció es degué a les guerres carlines i un dels capitans que hi van prendre possessió fou el comte d'Espanya.

Fortí cilíndric, edificat el 1838. Tipus de construcció clàssica de les guerres carlines. Reducte o fort de planta circular, que va reduint el diàmetre a mesura que puja. Porta a mig aire de la construcció, alguna espitllera i obra basta, en general, a desgrat que doni idea de robustesa. Durant la guerra anomenada "dels Set Anys", el castell de Cardona va romandre en poder dels cristins, com que els carlins, capitanejats per Tristany,sovint hi practicaven incursions d'hostilitats, amb el desig de fer-se amos també de les famoses salines, el baró de Meer féu bastir, el 1837-1838 aquest fort que avui rep el seu nom, per tan de rebutjar els atacs contraris o almenys estar-ne a l'aguait.

El terreny on s'ubicà el conjunt, conegut com "colònia Godó", i centre fabril tenia una extensió de 15.000 m2 amb dues naus de planta longitudinal amb gran quantitat d'obertures a l'exterior a fi i efecte de facilitar l'entrada d'aire a l'interior de les naus. La central amida 50 x 14 m. amb una superfície aproximada de 700 m2, i té cinc plantes d'alçada. Una part de la fonamentació és de maó massís, fent arcades que s'entenen sobre un terreny arenós degut a la proximitat del riu. Les naus de les quatre plantes tenen una estructura molt simple que ve donada per l'estructura rectangular de l'edifici. Com a suport dels sostres hi ha tres fileres de pilars de ferro colat; a les primeres plantes s'intercalen amb pilars de fusta de la mateixa forma. Els sostres són de post de fusta amb taulons de reforç per aguantar el pes dels telers. L'última planta té dues vessants, restant una nau central amb una filera de pilars i encavallades de fusta; al sostre hi ha claraboies. Junt a la façana oest s'aixeca la xemeneia de planta quadrada i feta de maó. L'element més remarcable de tot el conjunt és la porta d'accés al recinte formada per un arc escarser fet amb dovelles de pedra llisa i un acabament triangular que ve a ser com una recreació se l'arc de triomf romà. Fundada el 1842, sota la promoció de la família Godó, fou als seus inicis una de les indústries de la manufactura del cotó més importants de Catalunya, tan per la diversitat en la manipulació com pel nombre d'obrers que hi treballaren. A més va ser la primera fàbrica de teixits d'Igualada que va fer servir la màquina de vapor i també la primera que va instal·lar llum elèctrica el 1885. El seu propietari més conegut fou en Joan Godó i Llucià, que ha donat nom al carrer. A més d'empresari fou polític i cap del partit de Sagasta a Igualada, arribant a ser diputat en Corts pel districte d'Igualada on també havia estat alcalde. Aquesta empresa fou coneguda amb noms diferents depenent del propietari: entre 1842-1853, Fabril Igualadina Cotonera; 1853-1868, Companyia Fabril Igualadina Cotonera; 1868-1873, Igualadina Cotonera S.A.; 1873-1876, deixà de funcionar; 1880-1936, Joan Godó i Llucià se'n feu càrrec; 1936-1939, durant la guerra civil fou col·lectivitzada; 1939-1957, Joan Godó i Pelegrí la recuperà; 1957-1967, S.A. Textil Igualadina. Finalment el 1967 desapareix la societat, quedant l'edifici i annexes abandonats. Sofrirà posteriors enderrocaments, restant encara, però, intactes la nau central i la xemeneia del vapor. Inclòs a l'Inventari del Patrimoni Arquitectònic Espanyol de caràcter Històric i Artístic. [Província de Barcelona, 1979-1980, r.:1095]

The project seeks to restore the typological and morphological values of this Renaissance Palace, locating the broadcasting and public attention services of the archive. The action determines a remodeling of the area of some old houses where the core of vertical communications and public services are placed, and with the general control on the ground floor of this core. The exhibition space is in the corridors on the ground floor, which has independent public access from the rest of the archive. The meeting room is on the main floor, with a foyer that takes advantage of the existing carpeted room and representative offices. On the second floor, the crevices are left clean, open to various didactic and administrative uses, and an ambulatory is enabled above the patio loggia to ensure circulation. The internal services are in the third tier. The action tends to value the building as a public facility, underlining the function of the courtyard as an open space in the city, with double access from Rei Square and Comtes Street.

Can Ricart, dating from 1854, is one of the first mechanical stamping factories for cotton fabrics in Catalonia. It is located next to the central park and faces the industrial axis of Pere IV, together with Oliva Artés, Ca l’Alier, la Escocesa, and Ca l’Illa. The complex is made up of several neoclassical buildings and a series of green spaces that connect them to each other. Its interest lies in the unitary style of the pieces that make it up; that is to say, in the analogy of their shapes, rhythms and spatial arrangements.

Located in the Eixample district, the Cerdà Houses are three very similar buildings that make up three of the four chamfers of the intersection between Consell de Cent and Roger de Llúria Streets. They are buildings between homes that share the same urban guidelines as well as constructive solutions. These are buildings that meet quite precisely the parameters proposed by Ildefons Cerdà for the Eixample; buildable depths of around ten metres and heights between four and five floors. Compositionally, they all present very regular geometries that enhance the vertical component both in the axes and in the proportions of the windows. The construction solutions are solid and austere, and the decorations are simple, only offering visual richness with the presence of sgraffitos on the street façades. The three buildings are equivalent in all respects. Two of them, numbers 340 and 371 of Consell de Cent, are identical and only differ from the third by the material of the railings and the presence of sgraffitos. These two buildings show such a regular and rhythmic composition of façades that the only reference to centrality is given by a single balcony in the middle of the chamfer. Not even the size of the balcony window corresponding to the central balcony deviates from the canon of the façade. In its completely flat façades, the vertical axes of balconies with a railing integrated into the façade wall are offset by small cornices that separate the floors. The sgraffitos bring a wealth of shapes and colours to façades dominated by compositional and decorative austerity. Its height distribution is a ground floor and four floors. The top floor replaces the balcony with a square window. It presents a recently built penthouse that was executed with the transformation of the building into a hotel. The distinguishing feature of these two buildings is the use of ceramic railings in all their balconies. On the other hand, the building on 369 Consell de Cent with 51 Roger de Llúria Streets, although it follows the same formal and urban planning guidelines as the other two, maintains two different constructive façade solutions; the use of metal railings and the incorporation of glazed galleries in the two corners of the chamfer. In this case, it maintains the balcony solution up to the top floor and does not have façade sgraffitos. The interior layouts are tidy with few communal stairs and spacious well-lit floors. The ground floor of all three buildings has openings for premises with sparse arches without decorations. The roof of all three is flat. The perimeter of the crowning is solved with a solid work sill supported on a cornice with a continuous profile of a classic character. Artistically, the delicate sgraffitos, attributed to the Italian artist Bellamini, feature a series of idealised human figures on pedestals and other classical ornamental forms. The use of sgraffitos by the artist to add a classical order to the façades especially around the bare openings such as entablature and pediments stands out. The Cerdà houses, built in 1863, correspond perfectly to one of the typologies proposed in the " Reform and Expansion Plan ", approved in 1859, and specifically to one of the possible solutions for the controversial chamfers of the Cerdà Plan: immediately after the approval of the "Law of the Eixample of Barcelona" in 1859, companies were created to encourage their creation and construction. The urban development of Barcelona had Passeig de Gràcia as its axis, where the various recreational gardens that were there gradually became theatres as the population flocked there. The first sector of the Eixample to be built was the one later called "Dreta de l'Eixample", between Passeig de Gràcia, Passeig de Sant Joan, Gran Via and Diagonal Avenue, where the houses of Cerdà and the Passatge Permanyer (1864), which acted as enhancers of the rest of the area. The land included at the confluence of Llúria and Consell de Cent Streets was popularly called, since its foundation, Cerdà Square, but the attribution of this name is due to the owner of the land, Josep Cerdà i Soler, a Barcelona merchant who ceded it for the opening and organisation of the streets.

Structured in three sectors. The one corresponding to the north wing is formed by a block of niches attached to the fences of the cemetery. The remaining spaces are occupied by avenues and graves. In the central sector there is the chapel and most of the graves with the most relevant sculptural elements, while respecting a symmetrical composition in which the central corridor and the chapel are the axis of the main access. The southern sector is configured by sections of attached niches on the side walls of the east and west facades. Attached to the main façade, where the access is located, are the attached and service outbuildings. The central space is soberly landscaped with cypress trees and a symmetrical composition of avenues. The ornamental wealth of some tombs and graves made by prominent artistic personalities of the time is worth noting, among whom we must point out the sculptors Venanci Vallmitjana, Josep Llimona and Josep Carcassó -disciple of Vallmitjana-. The works stand out for their chromatic austerity in contrast to the white of the walls and the green of the cypress trees. Modernist chapel (Enric Sagnier, 1918): built by Enric Sagnier, it is a large pantheon of Iu Bosch's family. Sculpture of a woman from the Mundet Pantheon (Josep Llimona, 1900): sculpture representing a seated woman with a thinker's attitude, resting her head on one hand. She wears a dress with long skirts that cover her feet. The head is almost the same as the other statue of the same Lemon that is very close, both have the same hairstyle, long hair with a clip in the middle and pulled back towards the corner where the hand that supports it is. Also, like the other, he keeps a distant look. This one, however, has a stronger sensitivity than the other. Its state of conservation would be good if it weren't for the holes it has, which were produced by bullet shots. Woman sculpture from the Massaguer Pantheon (Josep Llimona, 1925): sculpture that represents a woman sitting on some steps, rehung in the tomb of which it is a part. It is of great beauty and refinement. When you look at it from the side, it looks a little out of proportion. Built with white marble, it gives off an air of mysticism accentuated by the lost and distant gaze of the figure represented. Holy Trinity or Eternal Father (Venanci Vallmitjana Barbany, 1909): Sculptural ensemble in white marble representing the Holy Trinity. It is made to life size and its presence impresses the visitor. The figure of the Father is represented by a welcoming image of an old, bearded man with a dove on his chest with outstretched wings representing the Holy Spirit. The son is leaning on the father, with his head at an angle, and he has, at his feet, an angel. The whole group is held in a stony mass that gives the feeling of clouds, an element which makes the whole not feel heavy and increases the feeling of magnificence. Sculpture of a woman (Josep Carcassó i Font, 19th century): Stone sculpture representing a seated girl with a bouquet of flowers in her hands. Her head is down and is looking at the ground. This attitude, together with all the movement that the dress provides, thanks to its long skirts with pleats, gives her a romantic and reserved look. It is of small height and is located behind a sculptural group by V. Vallmitjana. Virgin Mary with Jesus Christ or Piety (Venanci Vallmitjana Barbany, 1905): Sculptural group formed by the Virgin and Jesus Christ. The son is sitting on the Virgin's lap, representing the theme of Piety, inspired by Michelangelo. Built with white marble, a temple was later added to protect it from inclement weather. Tomb of the Fontcuberta i Jubany consorts (Cèsar Martinell Brunet, 1941): Tomb built in granite, with a raised base on which rests a body in the form of a sarcophagus and as background, a funerary stele with the cross in relief and the image of Christ in bronze, work of Frederic Marès. Fence vault with corner pillars finished in lantern and joined with metal chain. The Arenys de Mar cemetery is the result of three successive construction phases - from the middle of the 19th century to the second decade of the 20th century - which have formed individual sectors with different character and composition, but which maintain a harmonious and environmental balance, one of the most relevant values of this place. Located on the Pietat hill, the cemetery is the second erected in this place. Around 1813 the construction of the first cemetery began. Around 1860, it was decided to build a new one, whose works were almost finished in 1864. The chapel was not completed until December 31, 1867. The author of the project and director of the work was done by the master builder Domènec Casacuberta. The disappearance of the old cemetery was considered in the seventies of the 19th century. Twenty years later, population growth advised an extension of the site. In 1895, the reform of the path to the cemetery was inaugurated, allowing the passage of carriages, which avoids the driving of dead bodies by the weight of arms. At the end of 1917 the cemetery takes on its current configuration, when the last block of niches is built in the center of the wide area, which is decorated on the face corresponding to the ascending axis of the cemetery with the construction of ten niches luxury framed by artificial stone columns. Since then, the cemetery has not changed its layout. Its environment has, however, suffered serious attacks.

The University of Barcelona is one of the first buildings to be arranged in the plot designed by Cerdà. Its genesis, however, is older, because Rogent designed several projects for the University in different locations inside the old town that had to return from Cervera to Barcelona after Philip V took it from the city in retaliation for the events of 1714. The final configuration leaves a 130-metre façade on the Gran Via, asymmetrical with respect to Universitat Square, in the middle of two blocks of the Eixample (with a 220-metre front) that it does not fill. The building follows the tradition of the great European universities: two courtyards, one for Science and the one for Humanities, which are completely symmetrical and are separated by a central body with a very powerful marble staircase leading to a beautiful auditorium located above the lobby. The urbanisation of the area, which makes the building adapt to the Cerdà plot, was carried out in the 1930s by architects linked to the GATCPAC. On the short sides, facing Aribau and Balmes streets, there are a series of buildings that prevent the full view of the side façades. The building is built in neo-Romanesque style, with a sober, powerful, severe stone façade, built with beautifully preserved ashlars. The interior spaces are of great beauty and the cloisters still retain their original life and still house several schools linked to the current University of Barcelona. Visiting the building means seeing it through the eyes of today's students who, thanks to its flexibility, can continue to use it with the same freshness of the first day. The sequence of spaces formed by the access lobby, made of worked and exposed stone, and some interesting enough vaults that support the Auditorium and the staircase to access it, is particularly recommended. A visit to either of the two cloisters is also recommended.

Josep Maria Bocabella i Verdaguer founded the Spiritual Association of Devotees of Saint Joseph in 1866, at a time when the phenomenon of de-Christianisation was being driven by the Industrial Revolution and social change. From 1874 onwards, the association considered the construction of a new expiatory temple, following the trend of other religious associations that were erecting temples in Europe, such as those in Rome (Sacro Cuore de Gesù, 1870) or Paris (Basilica of the Sacred Court of Montmatre, 1873). The temple was to be a copy of the Basilica of Loreto (Marche, Italy), including a reproduction of the Holy House of Nazareth, which is where the Holy Family lived and to whom the Temple is dedicated. To build such a monumental work, the association commissioned the project from the diocesan architect Francisco de Paula del Villar y Lozano. The renowned architect does not agree to make a copy of an existing project and carries out a neo-Gothic style with a Latin cross project with considerable dimensions (44x97m), a large dome above the transept and a tower above the main façade, with heights of 80 and 100 metres respectively. These dimensions show us that it was not a conventional church, as the project surpassed the cathedral of Barcelona itself in terms of height, where the current subsequent dome only reaches 70 meters. On March 19, 1882, Saint Joseph's day, the patron saint of the association, work began on the crypt and at the beginning of the following year, when the walls were halfway up, discrepancies arose over the construction system. The Josephine association wanted to execute it in a more economical way, which eventually led to Villar's resignation.

The building applies the procedures of industrial architecture to a project with a high degree of fragmentation. The outbuildings of the workshops are located on a semi-underground floor that reaches the bottom of the site. The entrance is highlighted by an octagonal dome that provides overhead light and connects it visually to the office loft. The second section is for the file, set in a U-shape around a central skylight. The complex is made up of a structure of cast iron pillars and beams arranged in well-differentiated sectors, and a brick factory façade with six large, glazed openings. The design of the façade adopts the filigree motifs typical of Islamic architecture, one of the main references of the time. The arrangement of the openings generates numerous visuals in a vertical direction and creates light and space effects that anticipate the interests of modern architecture.

Isolated building that, together with the Teresa house, forms a complex surrounded by a large garden located near the railway station. It is a building with a complex ground plan as a result of the numerous extensions it has undergone. It has two floors in the rear central body and one in the rest. The roof is four-sided, flat or with a lowered barrel vault. A lantern in the form of a hemispherical dome with a cylindrical drum on an octagonal base protrudes from the building. The main façade is symmetrical. It presents a central access portico, with a circular pediment with reliefs. On the sides, double windows open side by side and separated by pilasters finished in bell-shaped capitals that run the length of the façade. The facings have sgraffitos. A perimeter cornice with palmettos runs along the entire façade. The back is symmetrical in the central body and asymmetrical in the side bodies, unfinished. The decorations are neo-Greek and neo-Egyptian elements. In the portico there are two sculptures, one of the poet Cabanyes, sculpted by Campeny, and the other one of Archbishop Armanyà, by Fuxà. Mr. Gumà i Ferran ceded the land for the construction of the library-museum in 1881. The following year, work began according to the project of the master builder Jeroni Granell. The completion and inauguration of the new building dates from 1884, according to a tombstone nailed to the façade. Three years later, an extension was made, directed by the architect B. Pollés i Vivo. Between 1920 and 1930 it experienced a new expansion, directed in this case by J. M. Miró i Guibernau. In 1951 the interior of the art gallery was renovated and in 1979 the roofs were repaired under the direction of the architect Jordi Ambrós, repairs commissioned by the Ministry of Culture. In 1981 the City Council carried out new refurbishment and conditioning works. Two years later, the Generalitat took charge of the restoration works of the Library, according to a project by the architect Bonet i Correa. The sculptural image of Archbishop Armanyà was placed in 1887. That of the poet Cabanyes was installed six years later. The Víctor Balaguer Library-Museum houses a collection of works of art and more than 22,000 volumes. Víctor Balaguer bequeathed it to the town in 1900.

This is Gaudí's first commission, having just finished his studies. The house consists of two floors with a low ceiling which house the main floor and the bedrooms, and a much higher attic under a multi-slope roof. The treatment of the built factory combines exposed stone and brick masonry, which is drawn and organised according to horizontal rows, and vertical elements of ceramic tile, which always draw a draftboard pattern and incorporate the corner tribunes and their elements of support. The house was conceived as a large optical device linked to the garden and the skewed views from the street.

El conjunt de la colònia Pons es caracteritza per ser una de les colònies tèxtils que neix i es forma en un període relativament curt (1875-1910) de temps la qual cosa fa que presenti una gran unitat. Les dues torres dels propietaris, la del director i l'església són els edificis més emblemàtics de cal Pons, juntament amb el jardí. L'any 1908 el rei Alfons XIII es desplaçà a la conca del Llobregat i feu una visita a la colònia Pons. Església de Sant Josep L'església és de planta de creu llatina de 32 metres de llarg. La nau principal és coberta amb volta de creueria, i les capelles laterals fan de contrafort de la nau central. A l'encreuament de la nau principal amb el transsepte s'alça un cimbori octogonal. L'absis poligonal té un deambulatori que porta a la cripta i a la sagristia. El 1879 s'aixeca el campanar aïllat i el 1907 es construí el panteó familiar, en el qual foren enterrats Lluís Pons i Enrich i la seva esposa, Anna Roca. Exteriorment, l'església presenta un aspecte altiu reforçat pel cimbori, el campanar i el conjunt de pinacles. La façana principal, orientada a migdia, és de carreus ben tallats, la resta de l'edifici combina harmònicament la pedra devastada amb els maons. Es tracta d'un edifici neogòtic que fou bastit en setze mesos, obra de l'arquitecte Josep Torres i Argullol. L'interior fou decorat per Francesc Morell, germà del director de la fàbrica en aquell moment. Escola, convent, teatre i casa de les noies. Els edificis consten de dos pisos: a la planta baixa condicionada per a escoles i el superior per al convent, el pis del capellà i la residència de noies treballadores. Com la resta d'edificis de la colònia, els materials constructius són: la pedra pels murs i el maó per les finestres i les portes. La torre vella (bastida abans de 1885) i la torre nova (inaugurada el 1897) són edificis monumentals d'estil historicista medieval. Van ser plantejats com castells medievals envoltats de jardí. La torre vella fou la primera que es construí, es tracta d'un massís però esvelt edifici, amb un cos central molt marcat. Ressalta l'escala de volta catalana. És d'estil eclèctic i goticitzant. La torre nova és una construcció de grans proporcions bastida sobre un penyal al final dels jardins de la colònia. En la seva estructura predomina el cos central per damunt dels dos laterals. La façana principal, amb una doble escalinata, està orientada a tramuntana. Els murs exteriors combinen el maó, l'arrebossat i els mosaics. Presenta molts detalls decoratius de tipus medieval: capitells amb el bestiari, decoració floral, gàrgoles, arcuacions cegues en el ràfec de la teulada..., Al rebedor hi ha unes pintures al·legòriques que fan referència als continents d'Amèrica, Àfrica, Àsia i Europa. Es tracta d'un paisatge de fons amb una figura femenina que porta algun element que fa referència a cada continent. En la representació d'Europa, el paisatge de fons és la colònia Pons vist des del peu del Llobregat. Fou residència dels propietaris inicialment de forma continuada, després va fer funcions de segona residència i a mitjan segle XX es va subhastar el mobiliari i és habilitar com a fàbrica de tovalloles. Es desconeix qui fou l'autor d'aquests dos edificis. Sembla, però, que podria haver estat Josep Torres i Argullol o Alexandre Soler i March arquitectes que van treballar per la família Pons. El xalet del director fou construït abans de 1900, és més auster i de dimensions més reduïdes, i tampoc se sap qui en va ser l'autor. El jardí Quan es dissenyà la colònia es va pensar a convertir la finca en un jardí tancat que l'aïllava del món exterior. El jardí, de fet, era d'ús privat pels propietaris de la colònia i la família del director. Però quan la família Pons no hi era els treballadors podien disposar del jardí i el bosc annex. En aquest espai hi havia una gran diversitat d'espècies vegetals (algunes, però han desaparegut): plataners, til·lers, moreres, troanes, castanyers d'índies, palmeres, pollancres, alzines, avets ... Al jardí privat de la torre nova destaquen dues glorietes de 1900 -fetes de maó i fusta- que tenen vista sobre el Llobregat i la colònia. La colònia fou fins al anys 50 i 60 del segle XX el centre cultural més actiu del municipi de Puig-reig. Es publicava la revista "Colònia Pons" i es creà l'Escola de la Llar i l'Escola del Treball vinculada a l'Escola Industrial de Barcelona. Els treballadors de la fàbrica rebien una formació, que a nivell comarcal constituïen una autèntica avantguarda. El 25 de març de 1886 s'inicià la construcció de l'església de la colònia Pons advocada a la Mare de Déu de Montserrat. Es consagrà el 10 d'agost de 1897. Es construí al mateix temps que la gran fàbrica, els habitatges dels treballadors i les dues torres. A mitjan segle XX, i sobre tot arran de la Guerra Civil, s'abandonaren les torres on residien els amos i començà un progressiu deteriorament de les activitats culturals i del parc, en el qual hi havia una interessant col·lecció d'aus exòtiques. Els moments d'esplendor de la colònia Pons coincideixen amb els primers temps de la seva existència, entre 1880 i 1930.