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1842 - 1844
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Institut Frenopàtic de Les Corts
Inicialment era el sanatori dels Doctors Dolsa i Llorach. El Doctor Pau Llorach era el propietari dels terrenys. Malgrat es desconeix el projecte i la data de la seva construcció, el 1863 el sanatori ja funcionava, i a l'any 1867 consta com a limítrof de les terres de Vicenç Cuyás i Barberá, qui en fa esment en redactar en aquest any el seu testament. La construcció es basava en els principis preconitzats per Samuel Tuke a Anglaterra el segle XVIII: integració de la naturalesa aprofitant sobretot els boscs, i enjardinaments amb elements constructius, com ara estanys o cascades. De la construcció original del Frenopàtic de les Corts realitzat a principis de la dècada dels seixanta del segle XIX s'ha conservat la façana principal. Aquesta presenta una composició axial, arrelada en el neoclassicisme, a partir de la capella central, que separa les zones de homes i dones. Aquestes conserven en un frontó situat al damunt dels seus accessos els rètols “departamento de caballeros” i el “departamento de señoras”. En alçat s'ha conservat la seva volumetria original, amb dos plantes, la segona on les obertures presenten balconades amb balustrada. La teulada es presenta a doble vessant. També s'ha conservat un casalot residencial de volum compacte, dos plantes d'alçada i coberta de pavelló situat a la cantonada del carrer Mejía Lequerica i la gran via de Carles III, a la zona de jardí tancat per una reixa de ferro.1872 - 1883
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1892
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Provincial Maternity Home (Avemaria Pavilion)
Located in the district of Les Corts, the complex known as Casa Provincial de Maternitat is located on the block of houses bounded by Travessera de Les Corts and Carrer de la Maternitat, Doctor Salvador Cardenal and Mejía Lequerica Streets. The main access to the complex is from Travessera de Les Corts. The complex is made up of a large group of pavilions built in different phases and distributed within a large, enclosed area. The original core of buildings, located at the southern end of the plot, is composed of five pavilions arranged around a large rectangular courtyard. These buildings have a height development consisting of a semi-basement, two floors and attics. They show a clear compositional unity and general arrangement, with a unique treatment of façades and a game of textures achieved by mixing exposed brick with stone walls. While the plinths of the buildings are made of regular stone blocks placed at break-joints, on the other levels the work is of common masonry. These textures are separated at the level of the slabs by rows of work with a slight overhang, where polychrome ceramic friezes stand out along the entire perimeter of the building. The crowning consists of a barbican that goes around the entire perimeter simulating a defensive enclosure. The constructions started during the period of the Mancomunitat, meaning that the Pink and Blue Pavilions were designed by Josep Goday i Casals in a style closer to Noucentisme. The Pink Pavilion recovers the characteristic motifs of the Catalan Baroque, with the inclusion of sgraffitos (geometrising borders and baskets) and terracottas. The putti and the shield of the main door solved in the form of a shell were done by Canyellas, and the crowning is based on balusters and vases. The Blue Pavilion has earth-coloured sgraffito coverings on its façades; it received its name from the name of the glazed ceramic dome that crowns the central body. The Pavilion of Helios represents a turning point, bringing to the whole a building within the rationalist current of the GATCPAC. Founded in 1853, the Casa Provincial de Maternitat i Expòsits was originally located in the Casa de Misericordia (Carrer Montalegre), in the old town. With the hygienist currents of the moment, the City Council decided to improve the conditions of the institution by promoting the construction of buildings suitable for its sanitary function. For this purpose, in 1878 they acquired the Can Cavaller country house, in Les Corts. The architect of the City Council, Camil Oliveras i Gensana, together with the architects General Guitart i Lostaló and Josep Bru, designed the Lactation Pavilion, the two Infectious Pavilions and the Laundry between 1885 and 1889. In 1920, the transfer of powers of the charity services between the City Council and the Mancomunitat took place. The construction plans, which until then had been carried out by the institution, basically concerned the orphanage section, so Josep Bori drew up an ambitious project for the maternity section that should be developed on the land located to the north of the site. In 1915, the construction of the Pink Pavilion began, started by Rubí i Bellver and completed in 1924 by Josep Goday, intended to accommodate secret pregnancies or unmarried mothers. Between 1928 and 1942, the same architect built the Blue Pavilion, destined for the Maternity Clinic. Between 1933 and 1936, Goday built the Helios Pavilion, intended for children with tuberculosis, following the structural and aesthetic guidelines of GATCPAC's rationalism. After the Spanish Civil War, the institution lost the progressive and renewing attitude of the previous dynamic period and returned to being governed by the traditional concept of Christian charity, abandoning the concept of modern public service. In this context, the economy of the institution was very precarious and the construction of a new pavilion for children aged 2 to 3 could only be carried out thanks to the legacy of two million pesetas by Francesc Cambó i Batlle. The architect Manuel Baldrich i Tibau oversaw its construction between 1953 and 1957. With the start of work on the Llars Mundet in 1954 and seeing that the buildings of the Maternity Hospital were no longer suitable for the social needs of the moment, the Council began to reconsider the uses of the site. Finally, in 1985, the Action and Planning Plan for the Maternity Home was approved, drawn up by the architects Josep Lluís Canosa and Carles Ferrater. This document laid the foundations for converting the existing buildings into public buildings intended for equipment and services, concentrating all hospital services in the Blue Pavilion and turning the outdoor spaces into a park. Currently, the Lactation pavilion is occupied by the Consortium of Resources for the Integration of Diversity (CRID), the Tourism Delegation, the Area of Economic Promotion and Employment and the Tax Management Organization (ORGT); the Pavelló de Desmamats is the seat of the Ministry of Health of the Generalitat of Catalonia; in the old infectious disease pavilions there is the Directorate of Urban Planning and Housing Services, the Institute of Urban Management and Local Activities (IGUAL) and the Institute of Local Housing (INHAL); the Historical Archive of the Barcelona City Council was installed in the Laundry; the headquarters of the Distance Education University (UNED) was installed in the Pavilion of the Kitchens; the Pink Pavilion would cease to fulfill its function in 1974 and, fifteen years later, would host the offices of COOB'92. The Blue Pavilion has hosted, since 1993, the Hospital Clínic Health Consortium; the Cambó Pavilion has been home to the Jordi Rubió i Balaguer University School of Library Science since 1991; and since 1989, the Prat de la Riba Pavilion has been home to Les Corts Secondary School.1883 - 1898
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Casa Provincial de Maternitat Hospital (Former Breastfeeding Pavilion)
Located in the district of Les Corts, the complex known as Casa Provincial de Maternitat is located on the block of houses bounded by Travessera de Les Corts and Maternitat, Doctor Salvador Cardenal and Mejía Lequerica Streets. The main access to the complex is from Travessera de Les Corts. The complex is made up of a large group of pavilions built in different phases and distributed within a large, enclosed area. The original core of buildings, located at the southern end of the plot, is composed of five pavilions arranged around a large rectangular courtyard. These buildings have a height development consisting of a semi-basement, two floors and attics. They show a clear compositional unity and general arrangement, with a unique treatment of façades and the interplay of textures achieved by mixing exposed brick with stone walls. While on the plinths of the buildings the device is made of regular stone blocks placed at break joints, on the other levels the work is of common masonry. These textures are separated at the level of the slabs by rows of work with a slight overhang, where polychrome ceramic friezes stand out along the entire perimeter of the building. The crowning consists of a barbican that goes around the entire perimeter simulating a defensive enclosure. The constructions started during the period of the Mancomunitat; so, the Pink and Blue Pavilions, were designed by Josep Goday and Casals in a style closer to Noucentisme. The Pink Pavilion recovers the characteristic motifs of the Catalan Baroque, with the inclusion of sgraffitos (geometrising borders and baskets) and terracottas. The putti and the shield of the main door solved in the form of a shell were done by Canyellas, while the crowning is based on balusters and vases. The Blue Pavilion has earth-coloured sgraffito coverings on its façades; it got its name from the name of the glazed ceramic dome that crowns the central body. The Pavilion of Helios represents a turning point, bringing to the whole a building within the rationalist trend of the GATCPAC. Founded in 1853, the Provincial Maternity and Exhibition Centre was originally located in the Casa de Misericordia (Carrer Montalegre), in the old town. With the hygienist currents of the moment, the city council decided to improve the conditions of the institution by promoting the construction of buildings suitable for its sanitary function. For this purpose, in 1878 it acquired the farmhouse of Can Cavaller, in Les Corts. The architect of the Provincial Council, Camil Oliveras i Gensana, together with the architects General Guitart i Lostaló and Josep Bru, designed between 1885 and 1889 the Lactation Pavilion, the Weanling Pavilion, the two Infectious Pavilions and the Laundry. In 1920, the transfer of powers of the charity services between the Provincial Council and the Mancomunitat took place. The construction plans, which until then had been carried out by the institution, basically concerned the exhibition section, so Josep Bori drew up an ambitious project for the maternity section that should be developed on the land located to the north of the site. In 1915, the construction of the Pink Pavilion began, started by Rubí i Bellver and completed in 1924 by Josep Goday, intended to accommodate secret pregnancies or unmarried mothers. Between 1928 and 1942, the same architect built the Blue Pavilion, destined for the Maternity Clinic. Between 1933 and 1936, Goday built the Helios Pavilion, intended for tuberculosis children, following the structural and aesthetic guidelines of GATCPAC's own rationalism. After the Civil War, the institution lost the progressive and renewing attitude of the previous dynamic period and returned to being governed by the traditional concept of Christian charity, abandoning the concept of modern public service. In this context, the economy of the institution was very precarious and the construction of a new pavilion for children aged 2 to 3 could only be carried out thanks to the legacy of two million pesetas by Francesc Cambó i Batlle. The architect Manuel Baldrich i Tibau oversaw its construction between 1953 and 1957. With the start of work on the Mundet Apartments in 1954 and seeing that the buildings of the Maternity Hospital were no longer suitable for the social needs of the moment, the Council began to reconsider the uses of the site. Finally, in 1985, the Action and Planning Plan for the Maternity Home was approved, drawn up by the architects Josep Lluís Canosa and Carles Ferrater. This document laid the foundations for converting the existing buildings into public buildings intended for equipment and services, concentrating all hospital services in the Blue Pavilion and turning the outdoor spaces into a park. Currently, the Lactation pavilion is occupied by the Consortium of Resources for the Integration of Diversity (CRID), the Tourism Delegation, the Area of Economic Promotion and Employment and the Tax Management Organization (ORGT); the Weanling Pavilion is now the seat of the Ministry of Health of the Generalitat of Catalonia; in the former infectious disease pavilions there is the Directorate of Urban Planning and Housing Services, the Institute of Urban Management and Local Activities (IGUAL) and the Institute of Local Housing (INHAL); the Historical Archive of the Barcelona City Council was installed in the Laundry; the headquarters of the Distance Education University (UNED) was installed in the Pavilion of the Kitchens; the Pink Pavilion would cease to fulfill its function in 1974 and, fifteen years later, would host the offices of the 1992 Barcelona Olympic Games. The Blue Pavilion has hosted, since 1993, the Hospital Clínic Health Consortium; the Pavilion Cambó has been home to the Jordi Rubió i Balaguer University School of Library Science since 1991; and since 1989, the Prat de la Riba Pavilion has been home to the Les Corts Secondary School. -
Sant Josep and Sant Pere Hospital and Asylum
The complex takes up the entire block between the streets of Jacas, Marañón, Maragall and Claret. It is an isolated building, with a complex organisation, formed by two bodies arranged perpendicular to another central body. It includes several outbuildings, including a chapel and a battlemented tower. The roofs are generally two-sided tiles. The construction has openings of various typologies that are framed in brick. There are several entrances to the building, which is surrounded by a garden. At the back, the shelter of Sant Josep has been the subject of several expansion works. The Sant Josep and Sant Pere asylum was built in 1901, according to a project by the architect Josep Font i Gumà. In the Historical Archive of Ribes, there is a document dated 1947, the request to the City Council for works to expand the building, in accordance with the plans signed by the architect Josep Brugal i Fortuny.1901
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1898 - 1902
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Charity House
Religious building made up of two parts. On the one hand, the front part, where the entrance is located, in the form of a square tower crowned by a four-sided dome covered with ceramics. On the other hand, the back part, has a rectangular plan covered by a gable roof and with large side windows. All the ornamental elements that make up the ensemble are located in a neo-Gothic and eclectic tradition: bipartite windows with a column and Gothic tracery, trefoils and mouldings that serve as ogival-shaped dust guards, semicircular arches and attached columns with Corinthian capitals. The facings are of red bricks with white stuccoed recesses in the corners and framing the openings in the fashion of false arches. Access is via a staircase presided over by an ogival portal where you can read Casa Benèfica, on top of the year 1901 and a double window. There are many subsequent annexes suitable for the specific needs of the moment. Despite the construction dates given by Gaietà Buigas, 1901 is written on the façade.1901 - 1902
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1903 - 1905
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1905
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Project of the Integrated Hospitals of Santa Creu and Sant Pau
The Project of Reunited Hospitals of the Santa Creu and Sant Pau, designed by architect Lluís Domènech i Montaner, stands as one of the most ambitious and innovative hospital complexes of its time. The origin of the project dates back to the need for a new hospital for the Santa Creu, which by the late 19th century was outdated and located in a densely urbanized area, and to the legacy of Pau Gil to build the Hospital de Sant Pau. Its final realization was the result of an agreement between the Santa Creu Administration and the executors of Gil’s estate in the early 20th century. Domènech i Montaner began the project in 1901 and distinguished himself for his thorough research into the most advanced technical and sanitary innovations of the era. The architect studied 240 hospitals from around the world and incorporated the most innovative solutions into the design of the complex, especially those related to hygiene, natural light, and ventilation. The result of this approach was a monumental hospital complex spanning 13.2 hectares, with capacity for 1,000 patients, structured around a model of isolated pavilions that allowed for the separation of services and patients based on disease type and gender. This typology, inspired by German hospitals, offered significant advantages in terms of hygiene and infection control, and Domènech adapted it with his own innovative elements, such as underground galleries connecting the pavilions, allowing for the transport of materials without interfering with patient circuits. The nursing pavilions, arranged regularly and oriented east to west to optimize sunlight exposure, featured spacious, well-ventilated areas with high-ceilinged wards and natural light. These buildings included elements such as circular day rooms to facilitate disinfection and independent water towers to reduce the risk of contamination, in line with the hygienist principles that shaped hospital architecture at the time. Domènech also placed key importance on the general layout of the site, which was structured around two large central avenues crossing the complex diagonally, clearly separating the male and female sectors and the areas for infectious and non-infectious diseases. The service and specialty pavilions were arranged along the perimeter of the complex, allowing direct access for staff and materials from outside, avoiding passage through areas designated for patients. This solution not only improved operational efficiency but also provided a clearly hierarchical and functional design adapted to the needs of healthcare activities. The complex also presented a clear monumental and symbolic intent. Domènech designed the Administration Pavilion as the entrance gateway to the site, with a monumental façade and a 57-meter clock tower, and envisioned a majestic three-nave church, along with auxiliary spaces with specific functions (gas and electricity plants, laundries, workshops, etc.) that ensured the complex’s self-sufficiency. All these elements were designed with an architectural language of great decorative richness, yet always subordinated to functionality. Overall, the Project of Reunited Hospitals of the Santa Creu and Sant Pau is a masterpiece that synthesizes the sanitary and architectural advances of its time, with an integrative vision combining architecture, urban planning, engineering, and art. The result not only marked a before and after in the conception of hospitals but also established an international benchmark in modernist architecture applied to the healthcare sector.1901 - 1911
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1902 - 1912
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1908 - 1928
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Former Hospital de la Santa Creu i Sant Pau
Lluís Domènech i Montaner, Pere Domènech i Roura
At the end of the 19th century, the most important hospital in the city of Barcelona was the Santa Creu Hospital, located in a medieval building constructed for this purpose in Raval in 1401. It was maintained through charitable donations and support from the authorities. It should be noted that, in those days, only the poor went to hospital, as those who could afford it would call a doctor to their home. The mortality rate among patients admitted was very high, largely due to infections and contagion. By the end of the 19th century, the medieval hospital was inadequate for the population of Barcelona, and land was acquired in the Guinardó area to build a new hospital once sufficient funds were available. In 1896, the Catalan banker Pau Gil died in Paris and left part of his fortune for the construction of a hospital in his native city of Barcelona. The executors held a competition to select the best project based on medical and architectural criteria. In April 1900, the architects’ jury declared the project “Salud” by Josep Domènech i Estapà, who had designed the clinical hospital, as the winner. However, the medical jury left the competition without a declared winner. On the 19th of April 1901, at a meeting of the Administration Board of the Santa Creu, it was decided to entrust Lluís Domènech i Montaner with the joint project of two hospitals under a general plan for administration and operation, merging what was to be built with Pau Gil’s legacy and what Santa Creu needed. Original Project: In his project report, Domènech made it clear that he had conducted an in-depth study of a wide variety of hospitals, listing more than 240 hospitals worldwide, mainly in Europe, arranged alphabetically by city and citing the bibliography consulted for his study. In the archives of the Architects’ Association, there is a series of handwritten notes by Domènech with references to these hospitals and their bibliographic sources. Domènech synthesised all the proposals, adopting the layout of isolated pavilions (above ground) and underground connecting galleries, while maintaining large, generously proportioned rooms inspired by the Middle Ages, which were better suited to the Mediterranean climate than the lower, central European designs. The chosen site was far from the urban congestion of Barcelona but well-connected, located in Guinardó, on the outskirts of the 1860 Eixample Plan. It was bordered by four streets, which were scarcely urbanised at the start of construction. The plot had a considerable slope, with a 35-metre height difference from end to end (equivalent to 12 floors) and an area equivalent to nine Eixample blocks. The proposal included 145,500 m² for 1,000 patients, giving a ratio of 150 m² per patient, far exceeding the 130 recommended by the medical commission. The hospital complex did not follow the alignment of the Eixample grid but was rotated 45°, ensuring the longitudinal facades of the pavilions faced perfectly north-south. The complex envisioned a total of 48 buildings for various uses. The site was divided by two main avenues, 50 metres wide, crossing diagonally and structuring it into four quadrants. The slightly rectangular shape of the plot meant that the diagonals did not align with the four corners. There were 21 pavilions dedicated to nursing on either side of the grand central avenue, with each pavilion dedicated to various ailments. Around the perimeter of the site were pavilions designated for services requiring independent access from the perimeter streets (dispensary, church, machine rooms, laundries, workshops, children's hospital, water distribution tower, mortuary chapel) without crossing the main complex. All constructions demonstrated a clear unifying vision, using a rich array of glazed ceramic decorations on all exterior and interior surfaces. If there is a distinctive element in Domènech’s project, compared to the hospital references he studied, it is precisely this decorative richness. Administration Pavilion: This pavilion serves as the main entrance to the complex. The building has an almost symmetrical configuration, with a central section crowned by the clock tower, two side wings encompassing the front plaza, and two perpendicular end sections reaching the boundaries of the site. It has a ground floor, two upper floors, an attic under the roof, and a semi-basement with natural lighting and ventilation. Originally, it housed the administrative areas of the complex, with the east wing for medical functions: patient admissions, medical offices, and a library-museum; the west wing for administrative functions: accounting rooms, offices, general archive, and secretariat; and the central section—the heart of the complex—holding the most prominent features: the entrance porch, monumental staircase, main hall and clock tower. The representational nature of the building is accentuated by its extensive decorative programme and the superior quality of the materials used. In this regard, the Administration building is a tribute to the expressive possibilities of ceramics in architecture. A spectacular mosaic frieze runs along the facades of the side wings of the Pavilion, illustrating the history of the hospital institution from its origins to the construction of this new facility. Noteworthy is the use of exposed brick for the interior walls, combined with a grey block (lime mortar, not kiln-fired), without any final plaster finish, demonstrating Domènech’s emphasis on rational construction as stated in the project report. Standard Pavilions: On both sides of the central avenue are the nursing pavilions, of which six were built in this first phase and two more were completed in the next phase. They all follow a similar layout, with an entrance section adjacent to the main avenue, a longitudinal ward oriented north-south, and an administrative section facing the exterior. Domènech actually drew a single set of plans on tracing paper for the standard pavilions so that, for those positioned symmetrically, one only needed to flip the sheet. To enter, one passed through an entrance hall with a day room and services on either side, as well as administrative and sanitary service areas at the rear. The basement floor was initially designated for services and connected to the underground galleries. The large interior spaces, including flat-brick vaults, were fully decorated with a broad range of glazed or enamelled ceramic tiles, creating a great variety of textures and colours while ensuring hygiene. Ventilation and natural lighting were carefully studied and described in the project report, using ducts and chimneys within the structural elements. Artificial ventilation and heating systems were also planned, adapting the principles of hospital architecture of the time to the Mediterranean climate. Operations and Inspection Pavilion: The Sant Jordi and Santa Apol·lònia pavilions, located behind the Administration Pavilion and near the side entrances, were intended for the initial examination of incoming cases. They were not connected to the network of underground galleries to prevent contagion in case of infectious diseases. These pavilions have a single storey and consist of a main block with four cells accessible from a covered exterior gallery, and two end sections: one for the kitchen and staff room and the other for a bathroom and cleaning area. The final pavilion of this first phase is the operations house, which contained the operating theatres. It has a ground floor, two upper floors, and a basement connected to the site's galleries. The most significant feature of this building is its compact volume and the presence of three apsidal spaces with glass enclosures (walls and roofs) facing north, providing optimal natural lighting with diffused light for the operating theatres. Tunnels, Landscaping and Completion of Works: Beneath the entire site, a network of underground tunnels connected the different pavilions. One network connected the non-infectious area with general services, and a separate network connected the infectious area (except for isolation units). These underground galleries were designed with natural lighting and ventilation from above and included utility ducts leading to each independent building. The generous open spaces between buildings were designated for internal circulation routes and gardens. The landscaped areas resolved the topographical variations in an east-west direction. These terrain variations resulted in winding paths between the pavilions, with a summer garden (cool) to the north and a winter garden (sunny) to the south, featuring plant species of scientific and pharmaceutical interest, as well as aesthetic appeal. In 1902, the foundation stone was laid, although the project was not yet finished nor the works contracted. The bulk of the construction took place between 1905 and 1912, following the original design. By 1912, Pau Gil’s legacy was exhausted, and the executor prepared to transfer the unfinished pavilions to the Hospital of Santa Creu. While funding was sought, construction halted, leaving a high-quality architectural complex in the heart of the city, half-built and unable to function. Continuation of Construction: In 1914, work resumed, with significant financial difficulties, extending over 16 years as funding from the Santa Creu Board and various benefactors allowed (who would lend their names to the pavilions they helped build). Pere Domènech i Roura began to take a more prominent role in the project, though with austerity measures due to financial constraints. Adjustments were made to the plans of some buildings to fit this austerity, diluting their grandeur and lower-quality materials and decorative elements were used. Domènech i Montaner died on the 27th of December 1923, without seeing his work completed or in use. In the new pavilions, the ambitious initial project was abandoned, and new building types were developed in response to advances in medical science over the 20 years since the original project was drawn up. The pavilions in this second phase include the central pavilion, Sant Manel and Sant Rafel pavilions, the church and annexes, the Resurrection pavilion, the laundry pavilion, the machine house, the brickworks extension and the Sant Carles and Santa Victòria pavilions, all respecting the unique layout and character of the initial project. In 1930, the hospital was inaugurated as a modern facility, with 27 pavilions spread over 145,000 m². The City Council granted the title of Hospital of Santa Creu and Sant Pau in recognition of the integration of Pau Gil's legacy with that of the old medieval hospital.1901 - 1937
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Hospital and Church of Sant Andreu
Ignasi Oms i Ponsa, Miquel Puig
Hospital: Renaissance style construction with subsequent historicist extensions. It is made up of a group of buildings, the result of extensions carried out at different times (16th-20th centuries). At the beginning of the 20th century, an additional floor was added following the same design as the façade. Also at this time, the hospital was extended with other buildings in an Art Nouveau-historicist style. Renaissance windows: double-leaf openings with a predominance of the vertical axis, framed on the sides by two slender columns of the full order and crowned with small, elaborate capitals from which the rest of the decoration covering the upper part of the fan starts, with increasing undulations in the centre and ending in a column. The material used is sandstone. They occupy the entire first floor of the façade facing Plaça de l'Hospital and part of the façade facing Carrer de Sant Andreu. Church: it follows a very simple classical baroque order. It consists of a nave with a barrel vault and transverse arches on pilasters, the result of an extension in length and height. Hospital: Origin: from the 13th century there was a ‘Domus Infirmorum’. 16th century: extensions and Renaissance refurbishments. 20th century (first decade): extension by one floor in a historicist style. Church: Built in 1300 next to the hospital, under the patronage of the Manresa merchant Pere Salvatge. 1792: Construction of the new church under the protection of the Amigan family. 1975: Blessing of the church.20th century