Edifici de planta baixa i tres pisos. Façana simètrica amb un cos central més destacat mitjançant una tribuna al primer pis i un remat amb capcer escalonat. A banda i banda, dos balcons per pis, amb baranes de ferro corregudes al primer i al tercer pis, i individuals al segon. Cornisa superior amb arcuacions i barana de llenguatge neogòtic. L'interior està molt modificat, per la instal·lació del Cafè i el Restaurant.

Edifici d'ampla façana. Antigament eren dos edificis iguals però tractats unitàriament. Estructura de planta baixa i dos pisos, de composició unitària i simètrica, amb dues torratxes de planta quadrada que sobresurten del terrat, rematades amb llanternes i cúpula d'escames ceràmiques. La façana principal és simètrica amb un esquema horitzontal accentuat amb el fris de finestres del pis superior que contrasta amb la verticalitat de les obertures amb planta baixa i pis. Remat superior amb barana calada d'obra i cornisa. Totxo arrebossat i elements de pedra.

In 1906, August Font i Carreras was commissioned to design the Gracia branch of the Caixa d’Estalvis i Mont de Pietat de Barcelona. August Font himself had already designed the Caixa de Barcelona building in Plaça Sant Jaume and a branch office in Carrer de Sant Pau. The building is located on the block bounded by Carrer Jesús, Carrer Sant Pere Màrtir, Carrer de Gràcia and Gran de Gràcia, where the façade opens onto the street. The building is inscribed in a regular polygonal plot and is developed on three levels of elevation: ground floor and two floors, topped by a rooftop. Today, only the façade remains of the original architectural project, which consists of a three-storey rectangular façade and a five-storey tower attached to the far left-hand side of the building. Built entirely of stone, it is notable for the presence of elements from the Catalan medieval building tradition, such as the mullioned windows on the first floor and the rooftop on the top floor. Even so, these elements are not faithful to the traditional forms, but were reinterpreted by the architect, giving the complex a Gothic appearance. The tower, which has a hip roof, has a door on the ground floor leading to the staircase. It is a door with a mixtilinear lintel and sculpted mullions, with two female figures accompanied by vegetal elements on the imposts. Crowned by the coat of arms of Barcelona, the ground floor is separated from the next floor by a moulded impost, where there is a niche in the form of a window with an image of the Virgin Mary. The first floor opens onto the street through a window with a mixtilinear lintel and, finally, the clock face above it. The tower is closed with a large cornice on corbels on which the top floor of the building is built – a series of windows between columns form a continuous gallery that surrounds the tower on all four sides. On the ground floor there is the entrance to the current offices of La Caixa, with a central doorway flanked by two pairs of windows with large arches on columns resting on a high plinth. This ground floor is separated from the first floor by a sculpted cornice on which we can read: ‘Caja de Ahorros y Montepío de Barcelona. Sucursal de Gracia' (Barcelona Savings Bank and Montepío de Barcelona. Gracia Branch Office). On the first floor there are three crown windows inspired by the Middle Ages, but reinterpreted both in the shape of the lintel and the plant decoration. Finally, on the second and last floor, there is a gallery that recovers the medieval and Renaissance style with mixtilinear arches on columns. Above this level we can find the eaves and the roof railing. The latter, with moulded elements in the form of battlements, is decorated with ceramic and iron elements.

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.

In 1902, due to the growth that the Caixa de Sabadell was facing, it was decided to acquire a plot of land between the partitions in the centre of Sabadell to locate the entity's headquarters. It is known as the “Palau de l'Estalvi”, and has become a key piece in the modernist art scene. The neo-Gothic building with a modernist interior was designed to house the cash office, the library and an assembly hall. It consists of three levels: basement, ground floor and first floor. The ground floor was originally occupied by the library, but it currently houses the offices for attention and service to the public, as well as the management and government offices of the institution. On this same floor there is a large porticoed hall. On the ground floor there is the Modernist Hall and the Council Room. Inside the building, the use of carved stone with medieval and plant motifs stands out. The capitals of the columns stand out, sculpted with roses and sunflowers. A monument dedicated to the founder Pere Turull should be highlighted. In the main hall there are several polychrome stained-glass windows with representations alluding to Industry, Agriculture, Commerce, the State and the Clergy. The patio skylight is also decorated with stained glass. The façade is made of stone, with two sculptures representing Virtue and Work. It is structured in three bodies: the central one is higher and has the plane of the façade shifted, standing out over the lateral ones, with less decoration and a pronounced horizontality and sobriety. Stained-glass windows and sgraffitos with floral and symbolic motifs are abundant. To build the building, the managers of La Caixa called a tender between Catalan architects or residents of Catalonia. Five projects were submitted, but according to the jury, none of them met the expected conditions and one of them decided to entrust the project to one of the submitted projects, which was carried out by Jeroni Martorell. The works began in 1906 and two years later, with the finished structure, interior decoration work began. In 1910, the works were partially stopped due to the parallel construction of the Industrial School of Arts and Crafts, the current headquarters of the Obra Social Caixa Sabadell. Since 1916, most of Caixa de Sabadell's services have been carried out in the new building. Between 1968-1970, a refurbishment was carried out by the architect G. Bracons, modifying the ground floor and replacing the rear façade of tiles and stucco with a concrete one.

At the entrance to Carrer Jonqueres, Carrer Ortigosa and Carrer Ramon Mas, we find the annex building of La Caixa de Pensions per a la Vellesa i d'Estalvis (Old Age Pensions and Savings Bank). Both buildings, designed by Enric Sagnier, located opposite each other, share many formal characteristics. The Casal de la Previsió, as it was originally called, is a partially isolated corner building, which touches the back of the Palau de la Música. It uses white Garraf stone for the main façade, combined with tiles on the secondary façades, as does the Casal de l’Estalvi. It also coincides with the latter in the neo-Gothic language of the finishes, although it responds to a much more modern typology close to the new conceptions of office buildings. The main façade combines rounded walls at the corners and the central body with flat, high bodies with battlements, with a medieval aesthetic. This façade has sculptural ornamentation attributed to Eusebi Arnau. At the back of the building, corresponding to the streets Ortigosa and Amadeu Vives, there is a doorway decorated with reliefs that gives access to the part of the building occupied by large dwellings.

Situat al límit nord del nucli antic, sobre l'antic cercle de muralles. En aquest edifici, Sagnier adopta ja els postulats de l'arquitectura noucentista, si bé encara és deutor del modernisme i de l'historicisme, en una actitud eclèctica. L'edifici de la Caixa ocupa una parcel·la gairebé triangular. De planta baixa i dos pisos, fa cantonada, solucionada amb un cos cilíndric en forma de torre, on hi ha el portal principal, en arc de mig punt adovellat, una balconada de balustres amb el balcó decorat amb garlanda en relleu, una teoria de cinc finestres en arc rodó, i un acabat amb barbacana p... Al 1909 s'inaugurà l'agència de la Caixa de Pensions a l'edifici nº9 de la Rambla General Vives. Al 1922 s'inaugura el nou edifici. Va ser la primera sucursal d'aquesta entitat d'estalvis després que el mateix arquitecte construís la seu central a Barcelona.

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.

The building consists of a semi-basement, ground floor and four landings. Out of all the façades, the corner solution stands out, with a rotunda tribune at the level of the first floors, where it forms a terrace with a balustrade and a tower with a conical roof made of ceramic scales. The tribune has arcades on columns with Tuscan (first floor) and Corinthian (second floor) capitals on both floors. The rest of the openings on the façades of both streets are vertical with isolated iron balconies. Those on the third floor are resolved in a Neoclassical style, with pediments and balusters. The upper part is finished with a cornice and balustrade. The façade to the courtyard has curvilinear tribune galleries with wooden shutters. At the end of the courtyard there is a small pavilion with a hipped roof, on the corner with the street.