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.

A stone fountain with a circular base with two steps, a triangular pedestal with three sinks and three spouts, a triangular-section pillar and a sculptural crown. The spouts are placed on supporting elements of classical inspiration. They simulate columns with decorated bases, shafts and capitals. The pillar bears several inscriptions, and the crown is decorated with a warrior's helmet, the coats of arms of Catalonia and Vilanova, and acanthus leaves. It was inaugurated on 17th January 1893. It was erected in memory of Joaquim Soler i Gustems, who, upon his death (1891), had left a legacy of 7,500 pesetas for the construction of a fountain-monument to him. The town council chose the site in the Plaça dels Carros and commissioned the architect Josep Font i Gumà to design the project. On 5 June 1902, by municipal agreement, the square was named after Soler i Gustems.

Edifici entre mitgeres, de planta baixa i dos pisos, amb coberta plana. A la planta baixa, de composició simètrica, hi ha tres portes d'arc sinuós, la central de les quals és més ampla. Al primer pis hi ha un balcó corregut, amb barana de ferro, sostingut per quatre grans cartel·les. Les dues obertures d'aquest pis són rectangulars i amb motllures a la part superior, on apareixen elements figuratius i florals. El segon pis consta de tres obertures rectangulars, amb ampit seguit decorat amb garlanda floral, i damunt les quals hi ha targes cegues de mig punt. La composició de la façana es completa amb un coronament sinuós, similar al de les portes de la planta baixa, emmarcat per un bordó. La façana posterior es configura mitjançant terrasses esglaonades. L'any 1900, el propietari de l'edifici del carrer de la Llibertat, 37, Antoni Pascual, sol·licità permís d'obres per reformar la façana, segons projecte del mestre d'obres Gaietà Miret. La reforma es limitava a la façana, l'estructura i elements decoratius de la qual responen plenament al llenguatge de l'estil modernista, tan difós a la Vilanova d'aquella època i que en aquest cas es mostra en la seva vessant més popular.

Building between partitions with a ground floor, two storeys and a Catalan-style rooftop terrace. The composition of the façade is symmetrical. The ground floor has a central entrance door and two windows on each side. The main floor has a central tribune with an iron structure and leaded glass and a balcony on each side with an iron railing. An impost with floral decoration separates this floor from the upper floor, where there are 12 windows, six of which are blind. Above the roof level, there is a gable-roofed building, where the initials J.G. can be seen. The façade has some interesting decorative elements: the bands with floral motifs on the main floor, the framing of the openings and, especially, the ironwork on the tribune, balconies, brackets and roof railing. According to the municipal works archive of Vilanova i la Geltrú town council, in 1902 there was an application for planning permission to renovate the house owned by Joan Gener i Mestre, consisting of the construction of a tribune and balconies on the façade, a central body on the upper part of the building, and a pavilion in the garden. The work was directed by Ubaldo Iranzo, the architect who used the modernist language for the first time on the Rambla Principal.

Funerary monument composed of a rectangular base resting on a stone paving that forms a step, a rectangular pedestal with smooth faces and the following inscriptions: 'Víctor Balaguer. Without love for me I had it for everyone'. Plus a crown formed by an altar and a sarcophagus. The base contains two inclined tombstones worked in relief and with floral motifs. These contain inscriptions in Latin with the birth and death dates of Víctor Balaguer and his wife Manuela Carbonell. The altar is decorated with ogival tracery, folds of clothing and coats of arms with the four bars of the Catalan flag, the cross of Sant Jordi, of Vilanova and his initials. The sarcophagus – rectangular and with a gable roof – is divided into bands, with floral motifs and inscriptions. In 1905, the remains of Víctor Balaguer were transferred from the Samà family pantheon to the new monumental pantheon, built in his memory by his heirs. This monument was designed by architect Bonaventura Pollés i Vivó, cut by Alfons Juyol and carried out by builder Joan Sas i Gorgori.

The Ribes Roges urban complex is made up of streets which are parallel and perpendicular to the seafront. It is bounded by the Passeig de Ribes Roges, the streets of Marcelina Jacas, Legazpi and Álvaro de Bazán and Torrent de Sant Joan, the street of Pere III el Gran and a large part of the block bounded by Passeig de Ribes Roges and the streets of Lluís de Requesens, Pere III el Gran and Isaac Peral. Each block contains several plots occupied by single-family houses surrounded by gardens. Although as a whole it does not present a stylistic unity, it still preserves some of the original buildings, mainly in the seafront sector, which present characteristics typical of the modernist and noucentista styles. The Villa Argentina and the Villa Montserrat (architect Josep Domènech Mansana) are the closest examples to the Catalan Art Nouveau style, as well as Doctor Ribot’s villa (Villa Esperanza) and the Villa Laguarda (both by the architect Bonaventura Pollés Vivó), and the Villa Teresa (Modest Tauler Benítez, architect), which have been preserved. The other villas are closer to the Noucentisme period, such as the Villa Isabel (by Ramon Frexé Mallofré, 1910-1912); the Villa Vivancos (by Josep M. Miró Guibernau, 1923); the Villa Dolors Rutllan (by Manuel Joaquim Raspall Mayol, 1925) and Villa Adelina, and the villas of Joan Robert and Lluís Pàmies (by Antoni Pons Domínguez, 1923, 1925 and 1926). The origin of the Ribes Roges housing development was the initiative of Ms. Anna Raventós de Saurí, president of the Empar de Santa Llúcia, a charitable institution that was to be the beneficiary of the profits produced by the development. Marcelina Jacas, who had considerable wealth inherited from her father and an uncle, both of whom were Hindus, gave the rural land she owned for the construction of the chalets in order to raise funds to support the organisation. The foundation stone for the first 10 chalets was laid in 1910. In the same year, the board commissioned several architects to carry out the construction work and left the municipal architect B. Pollés to carry out the project for the Passeig Marítim and the general plan for the distribution of the plots. The complex is detached from the urban fabric of the city. The Torrent de Sant Joan and the railway line hindered its growth and expansion from the beginning and it was outside the scope of Gumà i Ferran's General Plan and, therefore, of the expansion guidelines set out in the plan. In 1917, the municipal architect Josep M. Miró i Guibernau designed the total development of the sector in accordance with the garden city typology. The construction of the promenade was authorised and the complete layout of the road network and the study of the links with the city were carried out. The study of the layout of the links, although very correct, was never carried out due to the difficulty posed by the location of the Pirelli factory. In 1967, a new development plan allowed an increase in the density of buildings, which led to the abandonment of the garden city idea and the demolition of the original dwellings; this resulted in the demolition of many single-family villas, to be replaced by flat blocks. As a reaction to this trend, a new General Development Plan was approved in 1981, which sought to protect these dwellings by classifying Ribes Roges as a "garden city conservation area".

Detached single-family building with a garden around it, originally intended for two families. The building is raised above street level and consists of a ground floor and a first floor. The shape of the ground floor is essentially rectangular with a bay window and staircase attached to which a floor has subsequently been raised and covered. There is a side extension for the installation of a kitchen. The roof is made of arabic tiles on different slopes. The load-bearing walls are of common masonry and brick. The floor slabs are of iron beams and tile vaulting. Most of the openings have lintels. Some have stepped lintels. The ground floor opening leading to the terrace has a pointed arch. Exposed brick is used in different parts, such as the stepped brick corbels on the balcony, the chimney, etc. There are decorative elements with glazed ceramic tiles.

Building between partitions with ground floor, two floors and attic. The façade has a symmetrical composition. The ground floor has been completely renovated. On the first floor there is a continuous balcony with a wrought-iron railing and two sinuous arched openings with a plain moulding. The first floor has two balconies with openings identical to those on the first floor. On the third floor, a large window with curved mouldings occupies the entire façade. This floor, which is the result of the extension carried out in 1910, is crowned by an element that complements the window. Overall, the characteristic feature of the Olivella house is the use of decorative mouldings that emphasise the sinuous forms of the façade. The building is covered by a gable roof and there is also a rooftop terrace at the back. Today, the building has lost its function as a home and has been converted into the social premises of a sports club.

Isolated house that forms a rectangular volume, with a ground floor and two storeys, and a gable roof, with a barbican supported by stretchers. On the ground floor there is a tripartite window with round arches in the centre, flanked by two other simple windows. The façades are treated with an order of three vertical axes, and on the ground and first floors, the openings form depressed arches. On the first floor, there are also balconies that join three openings and are supported by corbels. Villa Isabel is part of the group of buildings that make up the Garden City of Ribes Roges, and is one of the ten chalets built by the "Empar de Santa Llucia" institution for the blind for charitable purposes. It is also one of the buildings in this sector that is closest to the Noucentista language.

Rectangular building raised above street level and surrounded by a garden. It consists of a ground floor, a first floor and an attic. It was designed as a two-family house. The roofs are tiled. The central body is covered by hip roofs on the perpendicular ones by gable roofs. The façades generally have lintelled openings and ornamental portholes with ceramic elements. The side sections are supported by pillars and have glazed ceramic decoration on the triangular gables. The chalet also displays elements of brittle decoration, characteristic of the Catalan Art Nouveau style. It was one of the first buildings to be constructed in the garden city of Ribes-Roges. In 1910, the first stone was laid, along with those of nine other chalets. This initiative was promoted by the Board of the "Empar de Santa Llúcia", a nursing home for the blind. The general project of the plot, as well as that of this building, was the carried out by the architect B. Pollés i Vivó.

Detached single-family house with a surrounding garden. The building is rectangular in shape and consists of a ground floor and a first floor with sloping flat-tiled roofs, from which a square-shaped lookout tower with a pavilion roof projects. The front part is a ground floor with a terrace and an upper pergola. The basement was built later and is used as a garage. The walls are of common masonry and brick. The floor slabs are of iron beams and tile vaulting and of concrete beams and ceramic vaulting. There are openings with lintels and others with pointed arches. There is ornamentation with glazed and brittle ceramic cladding. There are exposed bricks in arches, pillars, gables, corbels, sills and lintels. In the tower there is an important eave supported by corbels. The roof is made of flat tiles, some of which are glazed and form a pattern.

It is a detached single-family building surrounded by a garden. The building is raised regarding the street level. It consists of a ground floor and a first floor and an attic. The house has several ground floor sections. The roofs are sloping and there is a protruding lookout tower with a square floor plan and a pavilion roof. The front part is semicircular and has a small porch with an upper terrace. It has an oratory attached to the side façade with a gable roof. The walls are made of common masonry and brick. The floor slabs are made of metal beams and tiled vaults. The roofs are made of wooden structure, brick and flat tiles. There are openings with lintels and also with semicircular arches with glazed ceramic floral ornamentation. There are exposed bricks at the corners. The eaves overhang the flat tile roof with glazed tile overlaps. There is a semicircular gallery with an upper terrace and a wooden railing. The old oratory is crowned by a cross.

The Chalet del Nin is one of those constructions that share the Catalan Art Nouveau and the Noucentista languages. It stands on the Sant Gervasi point, between the beaches of Els Capellans and Adarró and the railway line, at the end of Passeig de Ribes Roges. The isolated building is located within a walled enclosure crowned by a balustrade, raised above the level of the promenade. It consists of a ground floor, a first floor and a space under a hip roof, from which a square tower with a pavilion roof protrudes. The building is made up of a protruding central body that emphasises the main part of the entrance, and two bodies on the ground floor that form an upper roof with a balcony with a ceramic balustrade. The main façade faces the sea and the main entrance is through a portico with three semicircular stone arches and smooth shafted columns with base and capital. The walls are made of stone, and the balconies have glazed balustrades. The roof has a ceramic and glazed tile perimeter eaves, and the ventilation system of the lower roof is remarkable, made with lattices with a glazed ceramic finish. On the east façade there is a porch with two semicircular stone arches, through which the service of the house had access. In the interior, the hydraulic floor tiles are interesting, in different patterns and colours, with Catalan Art Nouveau and Noucentista compositions, and the glazed ceramic wainscoting on the ground floor, from the Pujol i Bausis factory in Esplugues de Llobregat, as well as the wooden beam structure with glazed tiles. In July 1999, the Díaz Ibáñez family, well-known restaurateurs from Vilanova, bought the villa to build a luxury hotel and banqueting halls. In 2003, the property requested the construction of a new access to the villa through a staircase that would connect it with the access from the Adarró square. The project for the restoration of the building and the new staircase was drawn up by the architect Josep Maria Pujol Torres from Vilanova.

Isolated building, partially surrounded by a garden, on the corner of Rambla de la Pau and Carrer Soler i Morell. It consists of a semi-basement, a ground floor raised above street level and a roof terrace. The façades, in pink exposed stone, have as their most outstanding element the large windows in which the trend towards the circular form of Catalan Art Nouveau and the classical trend based on the use of columns with Ionic capitals are balanced. The upper part of these openings is flanked by a moulding that unifies them. The façades are crowned by a cornice decorated with plant motifs and a roof railing combining brickwork and iron. At the back of the building there is a semi-circular tribune covered with a semi-dome. In the garden, which is not very well-tended, there is a tower inspired by naturalism. The architect Josep Mª Miró i Guibernau designed the final project for the current building in 1921. Previously, the owner, Sebastià Soler, had commissioned two projects which were not carried out: the first one dates from 1915 and is signed by the architect Josep Font i Gumà, and the second one, from 1917, bears the signature of the master builder Gaietà Miret. On the garden tower there is an inscription that reads: "Colonia S. Soler 1916", which indicates that it was built before the house. In 1983, Vilanova i la Geltrú town council bought the property and the following year carried out restoration and refurbishment work, according to a project by the municipal architect Miquel Orriols i Mas, for use as a day centre for the elderly.

Building with a ground floor and a main floor, with a rear patio. The complexity of the construction is reflected externally in the crowning of the building, which presents elements at different levels of height and in the organisation of the façade in a double plane, one formed by a lateral body that follows the line of the street and the other, further away, is where the access door is located. The complex shows a unitary character which is given, fundamentally, by the balcony that runs through the two bodies; by the fact that all the openings, despite the diversity of dimensions, have the same shape and by the use of decorative elements (brick, iron and ceramics). In 1923, the owner of the property, Joan Magriñà, applied to the town hall of Vilanova i la Geltrú for a building permit for the construction of the building, in accordance with the project carried out by the architect Josep M. Miró i Guibernau.

The building has a rectangular ground plan, with two levels of access and a gable, tiled roof. The main façade of the warehouse, located below street level, is oriented towards the railway, instead of opening onto the street, where one of the side walls faces, which is treated with great simplicity. In front of the warehouse there is a small courtyard with an access ramp. The decorative richness of the building is concentrated on the main façade, which has a symmetrical composition and uses the most characteristic ornamental resources of modernism: exposed brick, ceramics and glass. This building is one of the few examples of Catalan Art Nouveau industrial architecture in Vilanova i la Geltrú. The only documentation located reports a request for works to modify the existing building, made in 1923 by the company that owned it, Fuerza del Ebro, SA, with a project by the engineer Daniel Boixeda.