In 1875, Ferdinand Stuflesser founded a sculpture workshop at the Petlin Hof farm, complete with a 15-metre-high workroom for altarpieces. In 1910, Ferdinand’s son Johann took over the business and expanded the market overseas.

In 1907, altar-maker Josef Höglinger had the Villa Schönblick built beneath the Plajes Hof farm. The villa housed a workshop, rooms for visiting artisans, and a small guesthouse.

In 1926, additional rooms were built in an annex; Höglinger also relocated his workshop to the new premises, replacing its predecessor with a dining room. The Villa Schönblick thus became the Hotel Regina, run by the Höglinger family until its sale and demolition in 2008, after which it was replaced by the Hotel Adler Balance. 

In around 1898, painter Christian Delago purchased a house beneath the art school, where he and his wife Josefina Schmalzl established a coffee house; by 1906, they had expanded it to the Dolomitenhotel Madonna. Delago also relocated his workshop to the hotel, which boasted 25 bedrooms, a garden, a veranda, and an art studio for guests.

Although the house and workshop which art distributor Franz Schmalzl de Ianesc built on Antonibo-den in 1872/73 was unassuming in size and nature, by the turn of the century the Marienheim had grown to become the third-largest hotel in St. Ulrich— complete with a swimming pool and a dining room which occupied an entire floor.

Stufan farm site (today Villa Margherita) is considered to be one of the oldest recorded settlement sites in St. Ulrich. The altar builder and manufacturer, Josef Rifesser Sr., built the twin farmhouses in 1872 and, in 1882, converted them into an art school for church interior decorations with its own sculpture and carpentry workshop. The business was one of the largest altar-building workshops in St. Ulrich around 1900.  His son, Josef Jr. (bera Sepl da Stufan), carried on with the company and opened a branch at the railway station in Brixen.

This turn-of-the-century villa, known as the 'red house', or 'angel's castle' because of its statue of St. Michael, was built by the altar builder and manufacturer Josef Runggaldier, living in the 'Blue House' next door, for his son Josef Jr. and was equipped with its own workshop on the ground floor. It is still used as an atelier today by sculptor Hermann-Josef Runggaldier, a great-grandson of the original constructor.

The turn-of-the-century villa named after Paul Grohmann, the first to climb the Langkofel mountain, was built in 1906 by Konrad Pitscheider de Menza, a sculpture painter and gilder from St. Ulrich, on a plot of land belonging to Pitla Sotria farm. Pitscheider set up one of the most important workshops for the painting of sacred statues and other church decorations at the start of the 20th century on the ground floor. The construction is in its original state and is inhabited.

Villa Rifesser, since 2006 a listed building that was influenced by late Historicism and features a verandah with Jugendstil elements, came about in 1890 thanks to the conversion of the old farmhouse by the altar builder and manufacturer, Josef Rifesser. His son, Josef Jr., carved four wooden busts of figures involved in the Tyrolean Rebellion of 1809 for the bay window. The workshop on the ground floor was used by the sculptor, Pepi Rifesser, a grandson of the builder, until the turn of the century.

Haus Tavella bears the name of the renowned sculptor, Franz Tavella, who came from Gadertal valley. He had a two-storey house with its own sculpture workshop built on the ground floor in 1890/91, where lots of young sculptors did their training, including Rudolf Moroder Lenért and Johann Baptist Moroder Lusenberg. In 1905, the sculptor Levije Antone (Luis Anton) Insam from St. Christina bought the house, where his son Luis carried out artistic work and trained young sculptors.

Josef Moroder Lusenberg and his son Josef had Sonnenburg erected in 1904 on the site of the old mill at Cudanbach stream. A workshop for sacred sculpture was set up on the ground floor, where Josef Jr. built up an ecclesiastical art business. The turn-of-the-century building stands out thanks to its half-hipped roof, which is rare for Gröden, bay window and turret with a sundial painted on the wall beneath some double arched windows.