The building designed by Domènech i Montaner follows the same structure that Josep Puig i Cadafalch used for the neighbouring Carbonell factory. The project consisted of two elongated naves arranged symmetrically with a building in between that provided the power for both buildings. In the end, however, it was only possible to build a 75 metre-long by a 15-metre wide nave, with a total of 1000 square metres. A diaphanous space with a height of more than 7 metres. The structure is made of iron beams arranged perpendicular to the length of the nave, forming corbels with a gable roof. The roof is supported by cast pillars located in the centre of the nave. The nave is accessed through four doors, one on each façade. It is a very sober construction. The side of the nave has a simple decorative moulding that frames the windows. The ends of the nave have two large circular medallions decorated with the image of a Latin sailing boat made of mosaic on either side of the door. The crowning of the building is followed by a fragmented frieze. At the ends of the nave were two closed rooms. In one there was the warehouse and in the other the offices. The Jover, Serra i Cia knitwear factory was founded in 1894. For this company, Isidre Jover Lavera and Francesc Xavier Serra Font joined forces and started the business in a house on Carrer Sant Benet. Five years later, as sales were going well, they decided to build a factory on the outskirts of town. They entrusted the project to the architect Lluís Domènech i Montaner, who worked together with his son, Pere Domènech i Roura. The works began in May 1900 and in September it was inaugurated. Despite the speed with which the works were carried out, the new factory was not occupied until 1903. In 1909, the factory was expanded. In any case, however, the twin nave that had been initially projected was not built. Two independent buildings were built, a warehouse and office and the other to house the machinery. It is the only industrial building designed by Lluís Domènech i Montaner.

Domènech i Montaner construeix la casa Gasull uns deu anys més tard que la casa Rull, quan la sensibilitat més radical del modernisme havia deixat pas al gust més auster i refinat de la nova moda noucentista. Domènech havia de combinar un edifici d’habitatges de 882 metres quadrats, amb pisos de 8 metres d’alçària, amb els 1.000 metres quadrats destinats al magatzem d’oli i fruits secs que connecta el carrer de Sant Elies amb el carrer de Sardà i Cailà. La casa Gasull manté algunes reminiscències del modernisme més arrauxat en els esgrafiats i mosaics emprats en la decoració, si bé les línies generals són classicitzants, sense temes florals, vitralls ni decoració pètria.

In 1912, the shipowner Font Torres, Domènech's uncle, commissioned a family pantheon in the cemetery of Canet. The pantheon follows a neo-medieval style with Catalan Art Nouveau elements. The dome of the roof is covered with ceramic brittle. The interior is also highly decorated.

L’Institut Pere Mata és el fruit d’una iniciativa per adequar l’assistència als malalts mentals als nous procediments terapèutics que estaven sorgint a l’època. Domènech i Montaner entrà en contacte amb la Sociedad Manicomio de Reus a través del seu primer president, Pau Font de Rubinat, coreligionari de la Unió Catalanista. Domènech esbossa a l’Institut els criteris d’arquitectura hospitalària que pocs anys més tard desenvoluparia a l’Hospital de la Santa Creu i Sant Pau, a Barcelona. Proposa un sistema de pavellons repartits per un gran jardí, de manera que cada pavelló pot acollir diferents malalts segons el tipus de malaltia, la classe social o el sexe. Tots els pavellons són d’obra vista amb sòcols de pedra poligonal, i totes les cobertes són de doble vessant, de teula àrab. Els emmarcaments de portes i finestres són de pedra calcària, més o menys treballada. De vegades s’aplica la ceràmica blanca i blava per decorar les façanes. En total són onze pavellons organitzats al voltant d’un pavelló central, tractat més profusament, que acull els serveis generals. Domènech desenvolupà el projecte sobre la base d’un coneixement a fons de les pràctiques terapèutiques i de les necessitats dels malalts.

Domènech carried out a number of renovation projects for his political colleagues. Francesc Macià, a military engineer and politician who became president of the Generalitat, commissioned him to renovate the interior of his house in Lleida, the Macià chalet. It is the last work Domènech carried out in Canet de Mar. As was the case with most of his works of this period, he had the collaboration of his son Pedro and his son-in-law Francesc Guàrdia. The Domènech family had their second residence in Canet de Mar, in the old Rocosa country house. This building did not have enough space to house the architect's large family and his studio. In 1877, they bought two houses on the corner of Riera Gavarra and Riera de Buscarons, which were connected to the house by the rear courtyards. Masia Rocosa became the architect's office and workshop and the new building the family residence. A first unrealised project is preserved at the Fons Cabruja in Canet de Mar. In 1918, a building permit was requested for the renovation and restoration of the Domènech house of the project that was finally carried out. The original building, on a corner at the confluence of the two streams, was two small 17th-century buildings. The previous constructions were not demolished, but a large part of the walls were reused. Domènech went up again and redistributed and ennobled all the openings, adding a hall with exposed brick arches at the top and monumentalising the chamfered corner with a tribune decorated with floral and zoomorphic elements. Inside the house, all the rooms were renovated, ensuring that all the rooms had windows on the outside. A staircase with ceramic risers connects the ground floor with the first floor, leading to a double-height entrance hall. On the floor of this space is a walk-through skylight that brings light from the upper skylight to the ground floor. A spiral staircase connects this space with the perimeter balcony on the first floor. Several rooms in the building contain the plaster casts of some of the sculptural works in its buildings. In 1980, it was renovated to house a bank and an extension was built in the garden. After the transfer of all the buildings to the Town Council and a second refurbishment in 2011, it is now a facility that houses the Domènech i Montaner House-Museum in Canet de Mar.

The project is the result of the merger of the Hospital de Sant Pau and the old Gothic complex of the Hospital de la Santa Creu, which created one of the elements with the greatest urban impact on the city. The hospital occupies nine blocks of houses in the Eixample Cerdà, at one end of Gaudí Avenue, with the Sagrada Família at the other end. Domènech i Montaner opts for the same organisation in pavilions rehearsed at the Institut Pere Mata, although creating an underground concentrated structure that prevents the functional dispersion of the pavilions, much criticised by some experts of the time in hospital facilities. It is a set of 46 pavilions located around an axis that crosses the large block of houses diagonally. Domènech thus operates an open and innovative reading of the island of typical houses in the Cerdà plan. The structure of the pavilions is modulated in elements that support brick vaults, favouring the adaptation of the wall system with the functionality of each pavilion. The axis formed by Gaudí Avenue represents a unique monumental ensemble, at the ends of which stand two almost antithetical conceptions of the meaning of the new architecture and its functionality in the social needs of the time.

El 1906, la Comissió de Monuments de Tarragona va decidir encarregar a Domènech un mausoleu per dipositar-hi les despulles de Jaume I, que fins a la desamortització havien estat al Monestir de Poblet, i un altre per la resta dels membres de la casa reial d’Aragó, a la Catedral de Tarragona. El projecte converteix el sarcòfag en un vaixell amb baldaquí que navega sobre les aigües, realitzant el conjunt de nou metres d’altura amb pedra ricament ornamentada i decoracions ceràmiques amb nombroses referències històriques i heràldiques. El 1923, quan mor Domènech, l’obra no està acabada i se’n fa càrrec el seu fill, Pere Domènech. El 1952 Franco aprovar el trasllat de les despulles de Jaume I una altra vegada a Poblet, de manera que les peces ja construïdes del mausoleu, ara sense sentit es van mantenir emmagatzemades en un racó de la Catedral. Finalment el 1992 es van muntar el mausoleu en un dels patis interiors de l’Ajuntament de Tarragona, on es conserven actualment.