Three-storey house consisting of ground floor, first floor and attic. It has a square tower plastered in white. The three-lobed arch of the door, the framing of the windows and the wrought iron work of the bars stand out of the façade. The openings on the floor are rectangular and those in the attic are small and landscaped for ventilation. The building is the result of several renovations from a 19th century manor house, the most important of which was carried out in 1911 by the architect Josep Renom. The ceiling paintings are preserved from the first house, under the modernist coffered ceilings. In 1941, the Arimón family sold the house to the Garcial Planas family. Between 1950 and 1960 several refurbishments took place, one of which was carried out by Santiago Cassulleras Forteza.

Funeral complex that, originally, was laid out with a Greek cross plan centred on an octagonal square, with a central department, three districts and a dissident area. Due to various subsequent extensions, the latter is organised into four quadrants or departments (Sant Oleguer, Sant Nicolau, Santa Eulàlia and Sant Salvador). External areas have also been included (departments of Sant Oriol, Sant Otó, Sant Nicodemus, Gregal and Sant Joaquim).

Church located in the centre of the cemetery, in front of the access avenue, and with a Greek cross floor plan. It has an eclectic decoration and is crowned by a glazed ceramic dome in the form of scales, which has a large image of the Angel of the Last Judgment on top. As a result of a visit by the Governor of Barcelona to Sabadell in August 1853, it was agreed to move the Taulí cemetery, as it was too close to the city and affected public health. Discussions about the new location lasted until 1860, when it was decided to build a new one in Planes de Sant Nicolau. Josep Antoni Obradors was in charge of the works, which began in May 1863, and it was inaugurated on June 26, 1864. The first buildings were small and had aedicles on tombs. Later on, in 1867, the first pantheons appeared, and finally in 1893 the church was built.

Public school located in corner between two streets and with a ground floor. The building is arranged around a courtyard making an "L". In the centre there is the lobby and the management offices. In each of the arms there is a classroom that overlooks the courtyard and the street. The façade follows a modernist style and is made of very elaborate exposed work, with a stone plinth. The ceramic mural in the chamfer is remarkable, with the coat of arms of Sabadell and the school's construction date. This school was built in 1897. It was the first and last witness of the movement for school buildings that began in 1888. The interior of the building was demolished and a new school was built attached to the old façade in December 1982.

Corner building with ground floor and two floors. The façade has a modernist language and combines exposed brick, sgraffitos with floral motifs, worked stone and ceramics. In the chamfer there is a large balcony that rests on a pilaster. The wrought iron of the balconies and the entrance should also be highlighted. The entrance forms a gate separated from the street by a gate. The building, as it was in 1982, came from the refurbishment of a series of houses between partitions that were transformed into a hotel, while changing the interior distribution but preserving the curves and openings of the façade.

Eclectic church, surrounded by a forest and located on the remains of the Roman villa and the hermitage of Sant Iscle. It has a good arrangement of volumes, emphasised by the roofs at different levels and by the arches under the cornices. The bell tower, from the modernist period, combines the visible work with the wall and is topped by a glazed ceramic pinnacle. In front of the entrance there is an atrium supported by columns. From the interior, the most holy altar with sculptures and reliefs by Enric Monjo (1946) should be noted. There are also sculptures by Camil Fàbregas. The high altar altarpieces were carried out by Antoni Vila Arufat and the stained-glass windows were made by Jeroni Granell. According to tradition, around the year 1652, an image of the Virgin of Health was found touching the fountain of the Torrent de Canyomeres, and from that moment it began to be venerated in the Hermitage of Sant Iscle, a place where they were driven away from the city. The current temple is the work of M. Pascual Tintorer, it was finished on April 23, 1882, and cost 53,947.86 pesetas. Later, the bell tower was built (1907) and in 1945 the church was renovated by F. Folguera, who reinforced the vaults and foundations, as well as building the entrance atrium.

Escola entre mitgeres, separada del carrer per un pati. La construcció es disposa al voltant d'aquest fent una “L”. Consta de planta baixa i dos pisos. Les façanes i la tanca del pati són d'obra vista ornada amb elements ceràmics. L'entrada té forma d'arc parabòlic. Al cancell hi ha un vistós sòcol de ceràmica. Cal destacar les reixes de ferro forjat de l'entrada, així com les finestres i la tanca del pati. La segona planta de l'immoble és producte d'una addició posterior.

Office between partitions, ground floor and first floor. Façade of modernist language but compositionally symmetrical. On the ground floor there are large windows and on the first floor there is a gallery with columns decorated with floral motifs (the wooden and wrought iron railing that was there is missing). The materials used are exposed brick, stucco, stone on the plinth and ceramics on the window sills. The interior consists of two large naves, and on the ground floor there is a small loft. The structure is metallic. The constructed building was slightly different from the planned one, as the latter had a higher floor and a flat façade instead of the gallery. The functional layout of the floor plan was the same.

Public building intended for a vocational education school. It consists of two large naves and a lateral tower containing the staircase. One of the buildings is placed parallel to the street and consists of basements and two floors. The other ship is perpendicular to the first, its front faces the street and only has a ground floor. The staircase tower has a circular plan, it is crowned by a pavilion cover of ceramic flakes and its upper openings have the shape of a parabolic arch. The façades are modernist and have a stone plinth and the rest of the façade is a combination of exposed work and stucco. The cornice and windowsills are decorated with green ceramics. The main nave has a gable roof while the other has a sawtooth roof. The current Caixa de Sabadell Social Work building was to house the classrooms, workshops and offices of the School of Arts and Crafts. It was built between 1907 and 1910 by Jeroni Martorell, who at the same time was building the Caixa d'Estalvis building with the help of the same team of craftsmen. The sculptor Tomàs Priu i Marine would collaborate. The school occupied the building for fifty years, but later underwent a refurbishment inside, in order to adapt the building to the headquarters of the Cultural Work of La Caixa d'Estalvis, which was carried out by the architect J. Vila Juanico and decorator R. Ribalta. In 1992, renovation works were carried out on the ground floor to adapt it to a library, creating an access through Font Street.

In 1902, due to the growth that the Caixa de Sabadell was facing, it was decided to acquire a plot of land between the partitions in the centre of Sabadell to locate the entity's headquarters. It is known as the “Palau de l'Estalvi”, and has become a key piece in the modernist art scene. The neo-Gothic building with a modernist interior was designed to house the cash office, the library and an assembly hall. It consists of three levels: basement, ground floor and first floor. The ground floor was originally occupied by the library, but it currently houses the offices for attention and service to the public, as well as the management and government offices of the institution. On this same floor there is a large porticoed hall. On the ground floor there is the Modernist Hall and the Council Room. Inside the building, the use of carved stone with medieval and plant motifs stands out. The capitals of the columns stand out, sculpted with roses and sunflowers. A monument dedicated to the founder Pere Turull should be highlighted. In the main hall there are several polychrome stained-glass windows with representations alluding to Industry, Agriculture, Commerce, the State and the Clergy. The patio skylight is also decorated with stained glass. The façade is made of stone, with two sculptures representing Virtue and Work. It is structured in three bodies: the central one is higher and has the plane of the façade shifted, standing out over the lateral ones, with less decoration and a pronounced horizontality and sobriety. Stained-glass windows and sgraffitos with floral and symbolic motifs are abundant. To build the building, the managers of La Caixa called a tender between Catalan architects or residents of Catalonia. Five projects were submitted, but according to the jury, none of them met the expected conditions and one of them decided to entrust the project to one of the submitted projects, which was carried out by Jeroni Martorell. The works began in 1906 and two years later, with the finished structure, interior decoration work began. In 1910, the works were partially stopped due to the parallel construction of the Industrial School of Arts and Crafts, the current headquarters of the Obra Social Caixa Sabadell. Since 1916, most of Caixa de Sabadell's services have been carried out in the new building. Between 1968-1970, a refurbishment was carried out by the architect G. Bracons, modifying the ground floor and replacing the rear façade of tiles and stucco with a concrete one.

Office located in a corner between two streets, composed of ground floor and a main floor. The building underwent renovations and has a very simple and almost free floor plan. The façades follow a modernist style, presenting a great wealth of ornamentation, with a great variety of motifs and materials (stone, stucco, ceramics, wrought iron, etc.). The office forms a functional unit with the adjacent building. The first floor has a balcony with a couple of windows on each side.

Mausoleum of Joan Carol Prat, built in 1918 by the architect Eduard M. Balcells Buïgas and the sculptor Metzner. Four columns with a rectangular base on each side that support a stepped structure with the tomb stand on a stone plinth. A large cross and a figure in front of it stands at the back. Three of the columns are flanked by a figure holding a small column with both hands. The entire tomb is made of stone with the surname Carol engraved on the front.

Torre de l’Aigua is a modernist water tank considered one of the emblematic symbols of the city. It is located in the eastern area, almost touching the bank of the Ripoll river. Between 1922 and 1967 it served as a water tank. It is a reinforced concrete tower - one of the first works in this material done in Sabadell. Its composition based on gravel, sand and water, along with some steel bars, made it possible to build a slender structure that could support the tank. Its architectural aspect is linked to the German tradition of this type of building. The structural body is made up of eight pillars with their capitals and cornice, arranged in the form of a truncated pyramid and connected to each other by a spiral staircase. At the top there is the reservoir and the viewpoint. This is made up of eight balconies with iron railings. The tank is insulated with a double wall and air chamber, with five rectangular openings under each balcony to illuminate the tank and ventilate the air chamber. Although it has an octagonal shape on the outside, the inside is circular to avoid water pressure in the corners. The building is crowned by a dome formed by eight inclined faces. Its capacity is 293.5 m3. In June 1915, faced with the problem of the city's water supply, a project and construction of a storage tower was put out to tender, with detailed guidelines by Francesc Izard, but which left freedom in terms of materials and shape. Four projects were presented, the winner being Lluís Homs. In February 1916, the works began under the direction of Josep Renom i Costa as municipal architect. The cost of the work was 104,422,70 pesetas. It was inaugurated in August 1918 with the assistance of the authorities, but it did not become operational until 1922. The tower has undergone a progressive process of abandonment, up to a point it is now completely disused. It is owned by the City Council, which has left it to the franchise company (since 1949 with a 99-year license).

Mercat format per la planta semisoterrani, que allotja el magatzem, i la planta pis, amb el mercat, accessible per quatre punts situats als vèrtexs (un d'ells coronat per una cúpula). La coberta està formada per diferents plans inclinats que deixen entre ells les obertures que il·luminen l'interior. El mercat tenia un disseny acurat: el projecte contemplava els diferents tipus de parades segons la seva utilització (fruita, carn o peix) i la seva situació, així com els diferents elements que les configuraven (revestiments, llums, numeració, posacistells, etc.). L'interior ha sofert un progressiu procés de transformació, perdent-se el seu caràcter unitari original. L'obra es va iniciar el novembre de 1928 en l'anomenat "Pla de Sang". Aquest emplaçament era el previst pel Pla de Reforma i Eixample de J. Renom-Manich.

Church with modernist façades made with a mixed apparatus of exposed work and masonry. It is formed by a central nave and two lateral ones with a Gothic structure. Inside there are paintings of boys and girls by Mauri for the altar of Sant Josep de Calassanç with sculptures by Juventeny and three polychrome alabaster reliefs (1945-1949); altar of the Virgin of the Pious School with a carved image of Claudi Rius (1945-1952); altar of Sant Pompili with an image of Fàbregas (1947); and Sant Benet altar, designed and painted by Joan Pàres (1950-1951). The foundation stone was laid on May 25, 1924. On May 1, the church was blessed, although it was not finished, as the main façade and the bell tower, which was supposed to be 40 metres high, are missing. He acted as an assistant to the future Sabadell architect Vila Juanico, as well as the local mason Simó Piera, who was the one who received Le Corbusier on his visit to Sabadell. Nicolau Molina was in charge of the stone, and the church was built by J. Espanyol with the help of Vinyas.