Can Modolell was a fortified house with a defense tower against pirates, built in the 16th century. This tower is one of the most prominent elements of the building, which was renovated in a modernist-neogothic style in 1892. They took advantage of the structure of the old tower, on the first floor of which the chapel was built, as well as the annex buildings on both sides. In one of these buildings, where the corner balcony is, the winter dining room was installed, equipped with a beautiful neo-Gothic chimney made of carved wood, the work of J. Azemar and J. Riera from 1893. Today they are the office of the mayor and his secretary. The Modolells' summer dining room was installed on the back side, it has glazed ceramic windows and overlooks the balcony over the garden. Magdalena Modolell Gardens are bounded by the façades of the Can Modolell building, Jaume Abril, Sol and Àngel Guimerà streets and by the façades of the Carrer de la Farina and Ca n'Escuder. The garden staircase is quite interesting, with balustrade and moulded and stained glass windows. Due to an oil painting from the end of the 19th century - the work of a Nogués married to a Modolell (owners of the house at the time), it is known that the construction consisted of two bodies separated by the tower. The one on the right has a semicircular arch at the portal (perhaps 17th century) and two floors; the one on the left was a large house with three floors in the 19th century. This structure was used when carrying out the important neo-Gothic refurbishment, which is what gives the building its current appearance, dated according to the moulded lintel of the side balcony in 1892.

This building was constructed in Viladecans thanks to the friendship between the project’s designer, the renowned Austrian architect Robert Kramreiter, and the parish priest of Sant Joan Baptista in Viladecans, Father Ramón Saborit, as well as the support provided by a property development company that donated the land, situated in a green area of the town. The new church in Viladecans is entirely a pure combination of concrete and iron. With its ramps and varying levels, it has been aptly described as the ‘beginning of a motorway leading to Heaven’. Kramreiter’s main idea in designing this church was to ensure the full participation of the faithful in the sacrifice of the Mass. Everything is subordinated to this purpose. The spacious nave is almost circular, some 40 metres in diameter, and can seat 650 worshippers. At one end of the chancel is the entrance, above which stands a gallery, with its own entrance, intended to accommodate worshippers arriving late for the service so as not to distract the others attending. It is connected to the rest of the church by a staircase. At the end opposite the main entrance stands the high altar, formed by two large marble blocks weighing 7,000 kilos. From the high altar, the celebrant faces all the congregation and everyone looks towards him. There are no columns to support a ceiling that undulates gently. On the left, lobed windows provide light to this area. The main nave is lit by rectangular windows which, almost at the ceiling, are aligned along one side of the structure. To the left of the altar is the area reserved for children – those closest to Jesus – in accordance with his wishes. On the opposite side are the choristers. Behind the chancel, a staircase leads to a semi-concealed crypt where the Eucharist is placed on a column separate from the altar; two underground recesses in the compact concrete structure serve to accommodate the faithful who come to adore the Blessed Sacrament. The chapels of the Holy Christ and the Virgin, arranged so as not to distract the attention of the faithful attending the liturgical ceremonies held in the central nave, are reserved for the private devotions of the faithful. Next to the main door, isolated from the outside by a large 180-degree glass panel, there is an original circular baptistery, attached to the nave. While the exterior of the new church is striking —viewed from the front, with the bell tower in the foreground, it takes on a curious trampoline-like shape, very similar to the chapel in Ivalo (Finland)— the interior is equally impressive for its simplicity and majesty, and although the overall design is far from harmonious, it is evocative, revealing influences from Le Corbusier and Alvar Aalto, and even Gaudí.