Large building rebuilt in 1851 following the characteristics of Eclecticism. It consists of a basement, a ground floor and a floor under the attic, with a terrace and a roof of Arabic tiles. It has an interior courtyard with palm trees and galleries of cast iron columns, and a cloister with a high and low gallery of semicircular arches. The imperial staircase and the interiors, with period furniture and accessories, are also noteworthy. Can Guineu is located in the centre of Sant Sadurní, between two important axes of the area, Carrer de l'Hospital and Carrer de Sant Antoni. It was originally a manor house. In 1703 it became the property of the Mir family, when Pau Mir bought it from the administrators of the Hospital de la Santa Creu. In 1851, after a trip made by the owners to Andalusia, the house was renovated and extended in accordance with the dominant aesthetic criteria at that time.

Very spacious house with a gable roof, between partitions, two floors and an attic. The stone should be highlighted as an expensive element on the façade, with three portals, a large balcony that covers the full width of the house, and three upper balconies. The façade also preserves important remains of paintings imitating coloured marbles. The interior is divided by a large staircase that starts from the central stone portal, at the height of the first floor, leaving the basements for cellars.

House between partitions with a ground floor and main floor. It does not have direct access from the street, as the garden keeps it separated from the public road. At the back it opens to a patio. The double curved staircase that gives access to the main floor from the garden stands out. The railing is iron, with a different design to that of the project, as is the crowning balustrade. The door, with a lintel decorated with reliefs, retains a modernist design. The ground floor, where the carriages were, has been adapted as a car park. NH This was one of the first houses to be built on Carrer Diputació, taking advantage of a project designed by Carrer Raval in 1880, which will eventually be located in this location. Having overcome the conflict of the Carline war and in a moment of economic prosperity, the town grew again, once again overcoming the walls. Carrer Diputació will be the symbol of a new prosperity that goes hand in hand with the improvements in communications that mean the opening of the road from La Llacuna to Sant Boi and better access to the train station.

The Josep Mestres House is a ground-floor, two-story roofed and gabled building between partitions, originating from the refurbishment of an earlier building. In the composition of the façade, the decreasing size of the openings, as the building rises, is also accompanied by a decrease in the carriageway in the manner of Renaissance palaces, which provides it with visual solidity. Neo-Gothic insinuations are constant, in the modulation of the arches of the nine upper windows, in the emphasised cornice, in the water-break mouldings above the portal, etc., as in the more typically 19th-century elements such as the terra cotta balustrade, the crowning of the façade, suitable for the sundial, or the fan-shaped strip of the semi-circular arched main door.

Building between three corridors with a basement, ground floor, two floors and an attic under the rooftop. The façade has a curved balcony on the first floor, double opening windows in the attic, a balustrade on the roof, and pilasters and mouldings that form a grid. The construction presents an eclectic style. The house is part of a set of houses corresponding to the 19th-century extension of Sant Sadurní on Carrer de Sant Antoni. The initial project of the work, which is kept in the City Council archive, dates from July 24, 1884. It was approved by the Provincial Council on November 29 of the same year. The work was commissioned by Pere Massana and carried out by the master builder Venceslau Güell.

It is a building organised on the ground floor, first floor, roof and turret with a viewpoint, with galleries and a garden, located on a corner, where the historicist taste is palatable in each of its elements: the upholstery on the ground floor, the moulded ceramic balustrade on the plane, on the roof and gazebo, the cast iron grills, the classic palmettes, the cast iron columns with classic capitals, the flat brick vaults, the classic Baroque echo panels and permodules, etc. Mention should be made of the extraordinary modernist stained glass added to the gallery later and the large garden.

Magnificent Moorish Revival ensemble. The building is largely built with brickwork, often using procedures characteristic of Catalan palaces, such as the vaulted brick vaults. The horseshoe arch and the top of the building, which form the main fence presided over by two large horseshoe arch gates, each protected by two cylindrical towers, are among the most used elements. It is worth mentioning the slightly rectangular cloister formed by 5 x 6 horseshoe arches organised on two floors, with three interior palm trees. This cloister, forged with metal beams and ceramic tumblers, contains the utensils necessary to produce wine, particularly the vats, on the ground floor. Among the dates we have been able to see in the building, they refer to the year 1888 on a forged grate, the year 1924 on a fountain and the year 1925 on the chapel without worship. The work, although within the eclectic style, presents some contradictions, possibly due to later extensions, such as the side porch. On the other hand, doubts also arise from its chronology in relation to the figure of Ali Bey (the adventurer and spy Domènec Badia i Labric) whose life spans between 1766 and 1818, a period possibly too advanced in relation to the shapes of Can Ferrer del Mas. However, if this relationship is confirmed, it would really be an advanced phenomenon in the history of neo-Moorish architecture, not only at a national level, but also internationally. The main house and the rest of the interior buildings have been demolished and rebuilt only partially on their south façade.

It is an apartment building chamfering with Carrer Marc Mir, with a ground floor, two landings and a roof. The building stands out for its balanced volume and the way it solves the chamfer. It is crowded with eclectic elements: corners, quilts, large cornice supported by panels and modillions, corbels with drawings under the balcony, banister and stepped gable, windowsills below portals and windows, etc., but motifs of naturalistic ornamentation that introduce us to the modernist language appear in the finishes of the windowsills, on the main entrance door and on the staircase.

It is a building composed of a ground floor, a main floor, a roof and turret with a gallery and rear garden in which the mixture of elements of different styles, characteristic of eclecticism, is a fact: medieval windows, neo-Renaissance bossages, pilasters and neoclassical capitals, Moorish Revival geometric stucco, marble balustrades, wrought iron gratings, cast iron columns, glazed ceramic scales, etc., form a very rich and representative ensemble of the image of Sant Sadurní.

Aquest edifici, construit entre 1896 i 1900, en substitució de l'antic ajuntament probablement de l'any 1673, és resolt amb planta baixa, principal, golfes i terrat sobre planta rectangular. El cos princicpal, centrat a la plaça, conté la torre del rellotge i l'estructura vista del campanar, de ferro forjat. El Modernisme està només intuït, hi resta encara l'encarcarement en la modulació clàssica i la constant utilització d'elements arquitectònics del període anterior.

The building, built in the first decade of the century, is developed on the ground floor and first floor on a U-shaped surface that embraces a patio, occupying a whole block of the Sant Sadurní area. Remains of a certain eclecticism appear in it, especially with the use of capitals on false padded pilasters in the central body. At the back of the façade there is a contemporary construction that connects with the existing building by extending its plinth. The central courtyard works as a shared area of the complex. On November 27, 2017, the building began to function as the new headquarters of the Municipal Library.

It is a construction between partitions, with a ground floor, two floors and a roof, conditioned by the length of the plot and the small width of the façade. Undoubtedly, all the emphasis of the work is on the façade, which solves with considerable finesse the problem of a façade with a minimal entrance angle, at a point where the street narrows. The result is a symmetrical composition crowned by a magnificent pinnacle at the edge, which, adapting perfectly to the environment, helps to shape it.

The complex constitutes an austere fabric of industrial constructions where Puig i Cadafalch aims to demonstrate the validity of the construction procedures of the past for modern needs and programs. The large cellar uses half-point arches made of six courses of brick supporting recessed vaults that reach the façade, combined with slightly pointed arches. The pavilion of expeditions chooses to use a large, inverted catenary made exclusively of brick, supported by crossbeams also made of brick and with a stone enclosure. Puig i Cadafalch uses the shapes given by the support elements to compose the façades, both frontal and lateral, in a way that expresses this support, although it also introduces other strictly ornamental elements, such as the stepped profiles of the openings, the lattices of brick, the series of buttresses or the stone pinnacles.

The building was started in 1908, still in full modernist euphoria, and a year later, thanks to the efforts of a handful of people from Sant Sadurní d’Anoia, it was finished. The progressive spirit of the entity is reflected architecturally with a balanced building, where the style is already devoid of eclectic elements. The work is distributed over two floors, with a symmetrical composition on the only façade, in which a central body stands out with interesting pinnacles of naturalistic ornamentation.

Building between partitions of three corridors. It has a ground floor, two floors, a turret and a rear garden. The access door, the balconies and the balconade with railings with naturalistic ornamentation stand out from the façade, as well as the mouldings and the crowning with roof railing and ornamented gable. The decoration of the façade is completed with quilting simulation. The construction follows the aesthetics of Modernism. This is one of the most remarkable examples of modernism in Sant Sadurní. Santiago Güell's project, preserved in the City Council's archive, dates from February 10, 1909, and was approved on June 10 of the same year. The work was carried out between 1910 and 1912. It seems possible that the building was the result of the refurbishment of an earlier construction. Casa Mestres is located in one of the axes of the large 19th century area of Sant Sadurní, centered on Carrer del Raval, a sector that is currently affected by a process of tertiarisation.

A single-storey building, irregular and adapted to the configuration of the surrounding streets. The most interesting elements it presents are six flat brick vaults with lattice beams, reflected externally on the side facings of the façade. There is only one access door through the chamfer. The decoration is mainly concentrated on the main facade, with a combination of classical and naturalist inscription elements (crowning palmette, pinnacles, floral garlands...) that responds to a certain eclecticism based on modernist and noucentista aesthetics.

Old building between partitions restored in 1925. The rehabilitation forms an architectural ensemble with the new façade of the parish church, to which it adjoins at right angles. It consists of a ground floor and two floors and a gable roof. On the first floor two balconies open, with a sundial between them, and on the top floor there is a gallery. In this project, Folguera was inspired by the classic models from Italy. The surface of the façades of the two buildings was graffitied.

Isolated public building surrounded by a garden on the corner of Carrer Cesar Martinell and Carrer d’En Ferrer i Sallés. It has a T-shaped plan and it is accessed by a central front tower with a ground floor and two floors. The side wings have a ground floor, a floor and an attic. The gable roof is covered by Arabic tiles. The windows and doors show stepped lintels. Attic windows open on the roofs. It connects via an elevated walkway with the new floor building of the Casa dels Avis. What was supposed to be the old hospital located on Carrer Torres i Bages built from the donation of a piece of land by Josep Ferrer Sallés was never finished and finally in 1928 it was replaced by a new hospital. This hospital was commissioned in 1928 while the Manel Raventís square was being developed by the architect Ygnacio Brugueras. Three years later, Josep Ros i Ros collaborated there, designing the access, the stairs and the fence. Later, in 1956, the Hospital was expanded by annexing a new body, the project for which Moliner was responsible. The last intervention was in 2002 when Ramón Fuste Sitges designed an elevated walkway that connected to the Old People's Home after the conversion of the hospital into a residence for the elderly. In 1988 the Foundation was extinguished, and the City Council transferred management to the mutual insurance company La Aliança.

Magnificent country house between partitions with two floors. It has recently been completely remodeled by "La Caixa" and only the façade has been saved. It is embroidered with sgraffitos representing Sant Jordi, the balconies have terracotta railings and the entrance halls are of the same material. This façade gives a great category to the main street of Sant Sadurní.

The original building is by the architect Josep Ros i Ros, who had already evolved from Modernism towards more contained and sober Noucentisme projects, takes on a character of great volumetric forcefulness for being an isolated building with a ground floor and three floors, the latter being designed as a gallery with a large barbican supported by beams. The gable roof is covered by Arabic tile. As it is an isolated building, the entire perimeter is conceived as a façade, both those facing the street and those facing the interior of the property. The perimeter is also protected by the inclusion of a fence that in what would be the main façade is based on iron splinters alternating with pillars and with the characteristic balls. The façade designed for visitors facing a small garden with a staircase, porch and a mixed gable that recalls vernacular architecture and houses a ceramic pediment with the decorative drawing of grapes and cava glasses, as well as the name of the brand, “Cavas Freixenet” stands out. Regarding the composition and treatment of the rest of the façades, the interplay of voids and fillings follows a symmetrical distribution with openings spaced apart and others with oval openings. Corresponding to the axes of symmetry we find balconies with iron beams on the first floor. The entire façade is stuccoed, except for the wide plinth treated in rustic walling. And with respect to the limits of each façade, there is the application of the quilting of stone ashlars that increase the sobriety of the whole and are in tune with the access openings based on semi-circular arches with stone voussoirs. It is an industrial complex dedicated to the exploitation and production of wine, with the brand "Freixenet, S.A.". As a production centre it was founded in 1861 and it was in 1914 when the production of sparkling wine began. Following the Barcelona International Exhibition, in 1929, they created a well-known icon with the so-called "Freixenet boy"; created by a German designer by order of Pere Ferrer Bosch, founder of the company.

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.

Building with an L-shaped plan. It occupies the chamfer of a plot that also contains the industrial buildings of the Miró Caves. It has a complex and symmetrical structure, organised around the garden. The central body consists of a ground floor and a floor with a porch and upper balustrade. The lateral wings also consist of a ground floor and a floor; on the ground floor there is a series of arcades supported by columns and the first floor is slightly set back from the plane of the façade. It has two towers at the ends and a dome on the central axis of symmetry. The roofs are made of Arabic tiles. There are notable elements within the noucentista language used by the architect: semicircular arches, classical columns, balusters, vases and crowning balls. It has a direct parallel in the Palau de les Arts Gràfiques of the Barcelona International Exhibition of 1929, due to the arrangement of the floor plan and also due to the solution of the entrance porch and the treatment of the volumes. Casa Miró is located on the wide street of Carrer de la Diputació, next to the Miró Caves building, built a few years earlier. The project, preserved in the City Council archive, dates from mid-1929, although it was not approved until June 13, 1932. The completion of the work was entrusted to the architect Cèsar Martinell, who in 1929 had already directed the construction of the wineries.