In 1927, the Barcelona Provincial Council had begun construction on this site of a building intended to replace the premises of the Casa de la Caritat in Raval, but the work remained unfinished. In 1954, Artur Mundet, a businessman from the Empordà region living in Mexico, responded to a request made by the president of the Provincial Council and donated forty million pesetas to build the residential and care complex. On 14 October 1957, General Franco inaugurated the complex, comprising a series of modern, well-equipped buildings designed to care for orphans, the elderly, the needy and the sick, among which was the church of Les Llars Mundet. The architect, Manuel Baldrich, drew inspiration for the church from models of Nordic architecture, particularly Alvar Aalto, and to decorate the church he called upon a group of contemporary artists of the time: Josep Maria Subirachs, Eudald Serra, Joan Josep Tharrats, Jordi Domènech, Joan Vila Grau and Will Faber. That said, the church is situated within the grounds of Les Llars Anna Gironella de Mundet, in the Montbau neighbourhood. It has a Latin cross plan with a free-standing bell tower. The main façade is of exposed brickwork. There are no windows or rose windows, and the entire space is occupied by the large bas-relief ‘The Saviour of Suffering Humanity’, the work of Eudald Serra. At the lower level, a concrete porch supported by iron columns shelters the main door, made of glass and wood. The façade is crowned by a triangular shape, which follows the profile of the gabled roof, and a white cross at the apex. The interior consists of a single nave, 20 metres wide, with a gabled roof, a transept and a polygonal apse. At the chancel end there is a choir loft with an organ. In keeping with the Gothic tradition, large windows open in the walls, filling the interior with light and colour, but here the concept is taken to the extreme and the walls are opened from top to bottom by large rectangular stained-glass windows that give the nave a systematic rhythm. In these stained-glass windows there is generally a desire for geometric design and a mixture of colours. Those on the left, as you enter the church, are the work of Jordi Domènech and allude to the spiritual works of mercy. Those on the right-hand side refer to the corporal works of mercy and to Saint Joachim, Saint Anthony of Padua and Saint John Bosco; they are the work of Joan Vila Grau, who employed the grattage technique (strokes made with iron or copper powder on the glass) to achieve different textures. Finally, Will Faber created the three stained-glass windows in the chancel dedicated to the Theological Virtues (Faith, Hope and Charity) and those in the transept representing the Cardinal Virtues (Prudence, Justice, Fortitude and Temperance); these are stylistically close to Informalism. The apse is dominated by a large alabaster sculpture of the Immaculate Conception, the work of Joan Rebull, and the wall was painted by Joan Josep Tharrats with greenish and blue patches evoking the seabed; because of this painting, which is pure chromaticism within abstraction, it was described as Tachism. The high altar, the work of Josep Maria Subirachs, is a large block of stone depicting the Last Supper with twelve chalices representing the apostles; eleven are standing and one is lying down, in reference to Judas. Behind the altar stands a wrought-iron crucifix, also by Subirachs. The artist also created the amboes, a crucifix in the transept, the baptismal font and the torches. Outside, the bell tower has a rectangular plan and stands 45 metres high. It is constructed of exposed stonework and features small rectangular openings rising up to the top, where there are large rectangular windows. Beneath these windows, there is a clock on the front façade. The roof is flat and crowned with an iron cross.