El 1883 es funda la societat Ateneo de Canet de Mar, entitat social d’arrel catalanista. Encarreguen a Domènech i Montaner el projecte per la seva seu, a la cantonada més cèntrica del poble, entre la Riera i el carrer Ample. Domènech va aprofitar part de les construccions que ocupaven el solar adquirit, i va aixecar un edifici de planta baixa i pis, unint-lo amb el teatre principal del costat. Tenia un saló de sessions, sala de lectura i biblioteca, sala de juntes, saló de billar i sala de “tresillo”. Un balcó corregut arriba fins a la cantonada, on una torre que arrenca des del primer pis el fa girar fins a la façana del carrer ample, que és on hi havia l’accés, donant continuïtat a les dues façanes. La façana a la riera té una clara composició simètrica amb un cos central rematat amb un frontó i una gran rosassa. El balcó corregut pren una doble volada en aquest punt, recolzat sobre mènsules metàl·liques d’inspiració violletiana. Les façanes estan acabades amb estucats decoratius, realitzats per la prestigiós firma de Barcelona Saumell i Vilaró. Els motius decoratius són al·legories mitològiques, en gran part extretes de l’Atlàntida de Verdaguer. També hi ha una rica decoració de forja i planxa de ferro retallada dels serrallers Pujadas de Canet. L’any 1923 I'edifici va acollir I'Ateneu Obrer i durant el franquisme, I'obra sindical d'Educación i Descanso. El 1985 I'edifici va ser adquirit per I'Ajuntament de Canet. L’interior va ser completament modificat al llarg dels anys, i només es conserven les façanes. Des del 1999 és la biblioteca Gual Pujades de Canet de Mar.

Jacint Capmany and his wife Francesca Roura, Lluís Domènech's brothers-in-law, commissioned the architect to build a summer house in 1889, which was finally built in 1891. The building has a rectangular ground plan and a gabled roof, with exposed brick façades and a circular corner tower crowned with a conical dome covered with ceramic scales. This tower, which makes the façade turn and is reinforced by a continuous balcony-terrace, had already been used in the Ateneu de Canet and would be a common solution in other projects by Domènech. It has a ground floor and first floor, but the central part houses a large double-height living room covered with an impressive wooden truss in the manner of an inverted naval construction. The rest of the building's horizontal structure, other floors and balconies, are made of metal. An extensive programme of applied arts decorates the entire interior and exterior of the house: glazed ceramics, mosaic flooring, woodwork, wrought ironwork, stone sculpture, etc. The ceramics are the work of Josep Ros and Pau Pujol. The ornamental references to the medieval world are continuous, and for example the front and back façades are resolved with a stepped gable with medieval central European reminiscences. It is currently a restaurant.

Domènech spent the summers with his family at Can Rocosa in Canet de Mar. In order to enlarge the space, they had bought the two houses next door that chamfered Riera de la Gavarra and Riera dels Buscarons and unified their courtyards into a single courtyard. The old country house was used as an architectural studio and personal refuge. He kept the Baroque elements of the building, such as the sgraffito on the façade, the courtiers, the peephole in the staircase and the stone lintels, but at the same time he incorporated numerous decorative elements from his works, sometimes plaster models of the sculptures or ceramic samples. The large room on the first floor still has its drawing table and library shelves. It is now part of the Casa Museu Lluís Domènech i Montaner Canet de Mar.

Ramon Montaner, Lluís Domènech's uncle and co-owner of the Montaner i Simón publishing house, bought the Casa Forta in Canet in 1881, thus returning the property to his family. He commissioned his nephew to restore and extend the building in order to monumentalise it and turn it into a representation of his lineage. With this intention, the publisher had acquired several historical buildings to extract their architectural elements of value and transfer them to his castle, such as the medieval monastery of Tallat. The original building was an old domus, the Casa Forta de Canet de Mar, which before the intervention had the appearance of a compact fortified country house. Domènech's project consisted of building new rooms around a courtyard that recreated a castle, reusing stone elements from other medieval buildings. From the monastery of Tallat, Ramon Montaner bought a large part of the cloister and several window and door frames, which were drawn, numbered piece by piece, dismantled and transferred to Sant Florentina, where they were reassembled in their new location. The new courtyard had a monumental exterior staircase in the style of Gothic palaces, and the towers were topped with battlements, barbicans and machicolations. The complex has many stone sculptures, decorated corbels, sculpted gargoyles, medievalist stained glass windows, polychrome wooden coffered ceilings and antique furniture, in which original Gothic pieces were mixed with modern fragments to achieve a medieval fantasy. Antoni Samarra i Tugues, Carles Flotats i Galtés and Dídac Massana collaborated on the stone sculptures and Josep Pujol on the stained glass windows. In 1905 work began on the crypt, in the basement of one of the old towers of the fortress, for the late wife of Ramon Montaner, Florentina Malató. In 1908, with the renovation of the castle almost finished, King Alfonso XIII was there, the same year that he granted Ramon Montaner the title of Count of the Canet Valley. The Montaner family ruled the castle until the marriage of their daughter Julia passed to the Capmany family. It is currently owned by investors and although it is still used as a private home, it is a museum and can be visited.

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.

Two-storey house from 1920 with a detached ground floor and a separate gate at the entrance. It has a very large garden which continues on the other side of the stream, with a large entrance gate. Inside the garden there are small temples, fountains and other architectural elements. The building has influences from different styles, as the author was a man who traveled a lot. The influence of the Vienna Secession stands out.

Double-height main nave with a parabolic arch framing windows made with careful brickwork. The same treatment can be seen in the annex, the restaurant facilities and the gabled house.

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.

Library which follows the Public Library of Valls, inspired by Greco-Roman architectural models. The façade with its portico of Ionic columns and pilasters crowned with a curvilinear pediment stands out. Although, initially, the two lateral bodies of the façade culminated in a small temple with a hemispherical dome, a later refurbishment and extension of the library eliminated them. The Pere Gual i Pujades Popular Library was the second one built by the Mancomunitat in 1919. Initially, it had a ground floor, but in 1970 the first floor was added to provide more space for cultural activities.