Conjunt de tres dipòsits colgats, de 25 x 40 m cadascun, l'estructura dels quals està formada per dues crugies dividides per 4 pilars i 5 arcs formers de pedra, entrecreuades a la vegada per altres 4 arcs torals, generant unes voltes de pedra rebaixades.

L'antiga fàbrica de ceràmica de Pujol i Bausis, coneguda popularment com "La Rajoleta", fou un dels centres més importats de producció ceràmica industrial de Catalunya. Està situada entre el carrer de l'església i el Passatge del Puig d'Ossa, al barri del centre d'Esplugues de Llobregat. Aquesta industria inicià la seva activitat a l'últim quart del segle XIX, tot i que el seu antecedent industrial començà l'activitat a mitjans d'aquest mateix segle XIX. El moment culminant de la seva activitat fabril arribà a finals del segle XIX durant l'època modernista amb els encàrrecs de destacats arquitectes d'aquest moviment artístic com per exemple: Gaudí, Domènech i Montaner o Puig i Cadafalch. La fàbrica finí la seva activitat l'any 1984 i després l'Ajuntament de la ciutat adquirí la finca. S'enderrocaren diverses construccions i es realitzaren prospeccions arqueològiques les quals permeteren de descobrir i documentar els espais subterranis com per exemple el gran forn soterrat de 20 m de llargada o els sis forns de tipus àrab ( ca. 1887). Resten dempeus la gran xemeneia de maó de 22 metres d'altura situada a l'extrem sud de la parcel·la i els dos grans forns d'ampolla fets també de maó. Aquests darrers forns d'ampolla, anomenats així per la seva forma, foren construïts entre els anys 1913-1914 per coure-hi el gres i la porcellana, en el context d'una remodelació de la fàbrica sota la direcció del seu propietari Pau Pujol. De base circular estan formats per una secció cilíndrica coberta per una secció cònica rematada per una xemeneia. Estan fets de maó reforçats amb una malla d'acer feta d'anelles i tires de ferro per evitar la dilatació del parament durant la cocció de les peces. A la base s'obren diverses obertures d'arc de mig punt L'antecedent industrial de la fàbrica de ceràmica de Pujol i Bausis es situa a l'any 1858 quan dos empresaris francesos construeixen una bòbila en aquests terrenys propietat de la família Pujol. L'any 1876 la fàbrica l'adquirí Jaume Pujol i Bausis el qual la remodelà a la dècada de 1880 per fabricar-hi ceràmica, des de llavors que es coneix amb el nom de "La rajoleta". La seva època de màxima esplendor es correspon amb el període del modernisme, durant el qual els principals arquitectes d'aquest moviment artístic encarregaren treballs a la fàbrica. L'any 1901 Joan Baptista Alòs, reconegut dissenyador de ceràmica i professor de diverses escoles d'arts i oficis, començà a treballar-hi com a director artístic. Després de la Guerra Civil (1936-1939) la fàbrica esdevingué societat anònima, deixa de fabricar rajoles de ceràmica i comença a fabricar aïlladors d'alta tensió per les companyies elèctriques. Finalment, la seva activitat finalitzà l'any 1984 i l'Ajuntament adquirí la propietat. Després de diverses campanyes de prospeccions arqueològiques, l'any 2002, s'inaugurà el Museu de ceràmica La Rajoleta en un espai de nova construcció situat al centre de l'antic recinte industrial.

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.

Isolated building located next to the Balaguer Museum and surrounded by a large garden. It has a rectangular plan and consists of a basement, a ground floor, elevated in relation to the floor, a main floor and a roof where the stairwell emerges. The composition of the façades is almost symmetrical, with rectangular and very low-arched windows, portholes and tribunes. A perimeter moulding decoratively separates the ground floor from the first floor. The building is crowned with a cornice and railing of flat balusters and presents a decoration of horizontal strips that simulate bricks. On one of the façades there is a bust of Saint Teresa, erected in memory of Víctor Balaguer's mother, Teresa Cirera. It was designed by the municipal architect B. Pollés i Vivó and its construction ended in 1889. Initially, the building had been built next to the Víctor Balaguer Library-Museum to host Víctor Balaguer in his stays in Vilanova. Later, when the space of the Library-Museum became insufficient, it was used as a dependency of this institution. In 1915, the State ordered that the Library be separated from the Museum and that it be taken over by an official from Santa Teresa qualified for this function. It currently contains several pieces of interest, mainly from the 19th century, such as furniture and paintings.

Fàbrica coneguda com el "Vapor Nou", data de l'any 1897 i esdevé un exemple molt característic de la indústria tèxtil cotonera. Formada per dues grans naus longitudinals de dues plantes d'alçada, amb grans obertures exteriors sobre les quals descansen uns arcs escarsers coberts d'estuc vermell a fi i efecte de donar una nota de color i aconseguir la dinamització del conjunt. Destaca la gran xemeneia construïda amb totxo cuit i que presideix majestuosament tot el conjunt. En Joan Boyer i Ferrer era propietari d'una fàbrica tèxtil a mitjans del s. XIX. Arran de l'arribada del tren a Igualada, que permeté portar carbó i així utilitzar la màquina de vapor, traslladà la fàbrica l'any 1897 a la zona del Rec. El 1910 es fa una ampliació en el mateix carrer del Rec. El 1978-79 es tancà aquesta indústria. El 1981 aquest edifici el comprà l'ajuntament d'Igualada per instal·lar-hi el Museu Comarcal.

House that takes up an entire end of the block, with three sides facing the street and the fourth acting as a party wall. It has a ground floor and two landings. A ground-floor stands at the corner of the boulevard with Plaça de Llorens i Barba, a three-storey tower with a pavilion roof, which forms part of the image of the boulevard. The side gallery with roof is interesting. The asymmetrical composition of the façades combines elements of various styles: "revival" windows, modernist mouldings, noucentist balustrades, etc., that insert the work into the eclectic current of the beginning of the century. The Elias Valero House project is shared by the architects Santiago Güell and M. Coquisllat. The work plans were presented on July 19, 1910. Since 1985 it has been the seat of the Berger Balaguer Forum.

Public building with a single nave and between partitions. It is on the corner with Muralla dels Vellets Street. It has an Arabic tile roof which is a pavilion with a lantern. There are two accesses to the chamfers, with steps. The walls are ordered by horizontal and vertical bands of exposed brick, a material also used in the door and windowsills. The project for the Chicken and Giblets Market, carried out by the architect Santiago Güell, was presented on September 25, 1911. In 1912, the auction for the building was held and in December 1913 it was officially inaugurated. It houses the Archive and the House-Museum of the Festa Major de Vilafranca.

Manor house consisting of a rectangular body parallel to the street, where the main rooms of the house are located, of which three are preserved in their original state. At the beginning of the 20th century, it was considerably renovated and expanded, with two ground-floor buildings and two attached floors in the middle of the old building, forming a u-shaped courtyard that opens onto a large garden, which is accessed via Carrer del Cardaire (or Sant Fruitós). M. Viñals refurbished the street façade. This is a symmetrical, with a ground floor and two floors, with two higher bodies at the ends. It has balconies on the first floor and a rhythm of gallery-like windows on the second floor. The upper finish is made with a cornice rich in classic ornamental elements following an eclectic style. J. Puig i Cadafalch refurbished the interior: ground floor, grand staircase, rear extension and wrought iron tribune with leaded stained-glass windows that overlooks the courtyard, using his characteristic language of Flemish influence within the modernist style. The 18th-century wall paintings on the main floor and the 19th-century paintings by Alexandre de Riquer in the downstairs hall and main staircase stand out. Former stately home where Joaquim de Sagrera i Domènech was born in 1777, he is celebrated for his active intervention in the French War and for the importance and expansion of his textile company. During the 19th century, the house suffered some vicissitudes in the rich architectural and decorative heritage it already had. It was deeply refurbished and restored in 1912 by the descendants of the family, who entrusted the work to the two architects mentioned. Some press campaigns and the action of the Museum Board prevented the demolition of the house in 1965. In 1973, with the financial help of the Caixa d'Estalvis de Terrassa, the city council acquired the building and it was destined for a museum. It contains several collections and they continue to restore the 18th-century style of its rooms.

The Maricel complex is made up of several buildings arranged on both sides of Fonollar Street and joined by a bridge. They are two large blocks known as Maricel de Mar and Maricel de Terra, and they were built with artistic elements from various periods and styles. Maricel de Mar is built on the rocks. The tower facing the bastion is a remarkable element. It has battlements, semi-circular arch access door, cone-shaped window and the image of the Archangel Saint Michael. Maricel de Terra is made up of a set of buildings with an irregular layout that are located between Fonollar, Sant Joan and La Davallada Streets. In this sector it is necessary to mention the "Recó de la Calma", with the access door and the capitals. The capitals, made by the sculptor Pere Jou, form a series of fifty with varied themes: fables, characters from the beginning of the 20th century, traditions, etc. In 1910, Charles Deering acquired the building of the old hospital of Saint John the Baptist, which had been built in the 14th century and enlarged in the 19th century with the aim of transforming it, along with other buildings, into a residence-museum. Miquel Utrillo oversaw the works, as well as being the administrator. The building was built with architectural elements from various origins and periods and already in 1913 contained important artistic pieces. On 18-10-1915 the Great Hall was inaugurated. In 1921, Charles Deering left for the United States with a large part of Maricel's works, which remained empty for many years. In 1932, the Board of Museums of Barcelona decided to reuse Maricel as a museum, which was inaugurated on 14-6-1936. The building is currently owned by the City Council and the County Council and is mainly dedicated to artistic and cultural activities. Capitals In 1915 the Barcelona sculptor Pere Jou arrived in Sitges called by Miquel Utrillo with the purpose of decorating the Maricel buildings with a set of about fifty capitals. The artist completed the commission and subsequently settled permanently in the town. At present, the capitals, some of which had been badly damaged, are in the process of restoration.

Isolated building, located within the industrial complex of the Guarro paper factory. It has a rectangular plan and consists of a ground floor, a floor and an attic, under a gabled roof made of Arabic tiles. Access to the first floor is via an exterior staircase of two straight sections with a quarter-turn landing. On one of the sides there is a porch (currently closed), crowned at the height of the first floor by a terrace with balusters. The work, which collects treasonous constructive elements of the farmhouses, is inscribed within the noucentista language. The Casal del Molí Vell was built between 1920-1921 by the architect Antoni Puig i Gairalt, in order to install the staff canteen of the Guarro factory on the ground floor and the school and library on the first floor. The dining room is currently used as the headquarters of the company's offices and the library as a museum.

Casa construïda entre 1926 i 1931, un cop derruïda la original, per l’arquitecte Isidre Puig Boada (1891-1987) per encàrrec de l’empresari Manuel Saladrigas Freixa (1872-1949). L’arquitecte Isidre Puig Boada fou deixeble d’Antoni Gaudí i director de l’obra de la Sagrada Família de Barcelona a la seva mort. L’empresari Manuel Saladrigas era un industrial que tenia una fàbrica tèxtil al Poble Nou de Barcelona i estiuejava a Blanes. En aquella zona hi vivien i donaven classe varis mestres, d’aquí que el passeig s’anomeni actualment “de la Mestrança”. Durant la Guerra Civil, a més de classes particulars, s’hi van celebrar misses clandestines organitzades pel mossèn Agustí de Blanes. La casa va ser conservada per la filla de Manuel Saladrigas, Teresa, i va resistir a l’embat constructiu dels seixanta fins que fou protegida per l’Ajuntament als vuitanta i adquirida pel mateix Ajuntament a finals dels anys noranta. El 13 d’abril de 2003 es va inaugurar la restaurada Casa Saladrigas com a Sala d’exposicions municipal en un acte multitudinari. Casa construïda entre 1926 i 1931, un cop derruïda la original, per l’arquitecte Isidre Puig Boada (1891-1987) per encàrrec de l’empresari Manuel Saladrigas Freixa (1872-1949). L’arquitecte Isidre Puig Boada fou deixeble d’Antoni Gaudí i director de l’obra de la Sagrada Família de Barcelona a la seva mort. L’empresari Manuel Saladrigas era un industrial que tenia una fàbrica tèxtil al Poble Nou de Barcelona i estiuejava a Blanes. En aquella zona hi vivien i donaven classe varis mestres, d’aquí que el passeig s’anomeni actualment “de la Mestrança”. Durant la Guerra Civil, a més de classes particulars, s’hi van celebrar misses clandestines organitzades pel mossèn Agustí de Blanes. La casa va ser conservada per la filla de Manuel Saladrigas, Teresa, i va resistir a l’embat constructiu dels seixanta fins que fou protegida per l’Ajuntament als vuitanta i adquirida pel mateix Ajuntament a finals dels anys noranta. El 13 d’abril de 2003 es va inaugurar la restaurada Casa Saladrigas com a Sala d’exposicions municipal en un acte multitudinari.

The building takes up all the Carrer Francesc Moragas, but also has an entrance from Carrer Hospital and Carrer Sant Antoni. It has three bodies, each intended for different uses - the central hall and staircase, the one on the left is a museum and library, and the one on the right is offices and housing. The building is currently used as offices. The image of the building responds to the criteria set by the institution since the same aesthetic is found in other contemporary buildings of La Caixa. The decoration mixes classicist elements, such as the columns and pediments, and Gothic elements such as the attic windows. At the end of 1931, La Caixa presented the request to erect a building along Carrer Vilaró, later called Francesc Moragas. The permit states that the work will be done in an easement area and that it is exempt from paying taxes thanks to the statutes of the funds. Although it does not refer to the acquisition of the land, it belonged to M. Dolors Vilaró i Raventós in 1892, when, on the occasion of a refurbishment of the house, she ceded part of it in order to widen the alley that would bear her name. The La Caixa project was not simply limited to opening offices but also offered a library and a museum, which would not be inaugurated until the 1950s. The museum would be dedicated to honouring old age, a festival closely linked to Sant Sadurní since it originated in this municipality and later spread to other Catalan towns.