Sant Antoni Maria Claret 167, Barcelona

L’Hospital de la Santa Creu i Sant Pau

Domènech’s proposal envisaged building the two new hospitals, Santa Creu and Sant Pau, both of which would be administered and operated under the same general plan.

The agreement signed by the executors of the Gil Bequest and the Illustrious Administration of Santa Creu Hospital contemplated purchasing the land adjacent to the grounds of Santa Creu (in order to have the required dimension) and erecting a part of the buildings (corresponding to Sant Pau). The latter had to be built up first and would enable the sick to be transported immediately from the building in the Raval neighbourhood. The City Council could then sell some of the buildings they occupied and tackle the construction of the Santa Creu part.

The chosen location was removed from the historical quarter of the city, in a space on the boundaries of the 1860 plan of L’Eixample district. The site is rectangular in shape, and is defined by four bordering streets with a sharp 35-metre gradient and a surface equal to nine blocks on L’Eixample (three x three).

The design envisaged 145,000 square metres per one thousand patients (the highest ratio of free space per patient of the time).

Its conception followed the hygienist criteria of the period, to ensure ventilation and the entrance of daylight, the contemplation of nature and the medicinal plants in the gardens.

Domènech i Montaner combined the two hospital typologies common at the time: isolated pavilions above ground level, and underground communication galleries organised in compact structures. The architect studied 234 referential hospitals including the John Hopkins Hospital in Baltimore, the Vivantes Am Urban Hospital in Berlin, the Lariboisière Hospital in Paris, and the Holy Civil Hospital in Bilbao (now the University Hospital of Basurto), and transcribed his conclusions in his project report:

‘The complete system of isolated pavilions or block system was first introduced in permanent hospitals around 1870. … From that moment on, practically all the important modern hospitals would follow this layout.’

The hospital premises were separated from its environs by an opaque perimeter wall that completely surrounded it. Access was through the south corner, from the Administration Pavilion and its large square that acted as a transitional space between the hospital and the urban scene.

The ensemble is chamfered following the grid of L’Eixample district. The longitudinal façades of the pavilions are perfectly orientated (north-south) and have the best possible conditions for energy efficiency thanks to passive systems (natural lighting and ventilation).

Two main avenues measuring 50 metres in width (north-south, east-west) divide the premises into four quadrants of the same size: infectious patients in the north, non-infectious patients in the south, male patients in the east, female patients in the west.

A total of forty-eight independent pavilions, twenty-one of which were used as infirmaries, with varying numbers of rooms and floors but the same dimensions – 52 m in length and the same solar orientation – were built in the central area of the grounds, at each side of the large central avenue.

The pavilions dedicated to General Services were located on the perimeter and had the possibility of independent accesses for the public. These unique buildings are chamfered and thereby fit in with the grid of the district of L’Eixample.

At the intersection of the two main avenues stood the Central Pavilion that accommodated the convent, the kitchen and the dispensary.

The design was drawn up with a clearly unitary will, using the same repertoire of materials, constructional systems and ornamental elements. The bases of all the buildings had load-bearing masonry walls of limestone from the nearby mountains, and hydraulic mortar. The stones blocks used in the ashlar masonry were from Montjuïc, as were the stones framing the voids.

Above the bases, all the outer walls were built of ordinary masonry, yet compact and well chosen, with two 15-cm brick sheets and inner air chambers. The frames of the voids, the imposts, cornices, capitals, rose windows, air vents, finials, chimney bases and other sculptured elements were also built in stone combined with face brick, pottery and ceramic tiles. All the parts that help lead the water off the façade in order to improve the impermeability of the building follow the same principles.

The roofs were either sloping and covered in glazed ceramic tiles or cupulated and covered in scales of the same material. The composition of colours and textures of the roofs has become one of the most identifying architectural features of the precinct.

The ceilings of the buildings were made of thin vaults of alternate layers of bricks and mortar. This traditional constructional system of Catalan vaults enabled spaces to be covered extremely quickly, leaving smooth surfaces with no visible joints, and consequently helped improve the hygienic conditions of the inner spaces. The thrusts generated by the vaults are countered by perimetral metallic tie beams embedded between the façade walls. This architectural solution improves the stability against seismic shocks and the uniform layout of vertical loads, regardless of the position of the voids.

In his report on the original design, Domènech i Montaner clearly explained the general principle:

‘The structure, construction and decoration of all the hospital wards are so intertwined that they form a single concept. As soon as the building of a ward is finished, its construction materials provide its exterior and interior decoration, which is complemented by tiled dado rails and plaster or stucco facing required to keep the walls clean.’

Following these principles, each space is rendered unique by a wide range of expressive possibilities and small subtleties.

The iconographic and ornamental repertoire applied more or less profusely to the different buildings according to their representativeness prominently features the symbols of the two hospital promoters: Pau Gil (P and G) for Sant Pau and Santa Creu, and of other donors in the last pavilions. The presence of angel-like protective figures, the tetramorph of the apostles and saints that have formed a part of the history of the mediaeval hospital foundation are also profusely represented. A key feature is the mosaic frieze that runs around the façades of the Administration Pavilion that illustrates the history of the hospital institution from its origins to the construction of the new premises.

In 1902 the site preparation began with earth moving and in 1905 the construction of the first two pavilions of Sant Pau Hospital was initiated simultaneously. In 1912 the Pau Gil bequest expired and the executors prepared the transfer of the pavilions to the Illustrious Administration of Santa Creu Hospital. The building work was stopped, leaving a half-built complex in the city centre for a number of years. Finally, in 1930 the premises were officially opened, despite the fact that some of the pavilions were already in use.

Domènech i Montaner died in 1923, and the last phase of the construction work was supervised by his son, Pere Domènech i Roura, who had been a member of the technical team from the beginning (with Francesc Guàrdia, Francesc Julià, Enric Catà and Amadeu Llopart).

Over the course of the hospital’s century of existence, the buildings would gradually be adapted to the functional requirements of each period. On most occasions, the alterations did not adhere to the original configuration, as the priority was to increase the capacity of the buildings and fulfil medical requirements.

In 1978 the complex was declared a Historical-Artistic Monument Històric by the Spanish state and in 1997 it was selected a World Heritage Site by UNESCO (together with the Palace of Catalan Music).

The architectural and functional failure prompted the need to build a new hospital that would meet the requirements of a hospital centre for the twenty-first century. The new centre was erected at the north end of the grounds, and by 2009 the hospital had completely transferred its activity to the new premises.

In 2008 a team led by architect Xavier Guitart drew up a master plan in order to analyse the state of conservation of the entire complex and establish the bases and common criteria that would govern the processes of renovation and adaptation to new uses of the historical grounds. Surveys, historical studies, analyses and structural studies were carried out, after which the refurbishment and equipping of the pavilions has been tackled in phases, separating the design commissions from the building work.

This pavilion contains the main access to the grounds. The building is almost symmetrical, with a central body crowned by the clock tower, two lateral wings that encompass the space of the square in front of the complex, and two perpendicular end bodies that close the space on the borders of the site. The pavilion has a ground floor, two storeys, a loft area under the roof and a semi-basement with natural light and ventilation.

In the beginning it centralised the spaces destined to the administrative uses of the complex: the medical rooms, admissions, consultancies and museum-library in the east wing; the management and accountancy offices, general archive and secretary’s office in the west wing; and the symbolic entrance porch, monumental staircase, large assembly room and clock tower in the central space, the heart of the premises.

The attic space initially accommodated the rooms of the internal hospital staff, curiously shaped as courtyard houses, as recorded in the documents kept in the Hospital Archive and as proved by the remains still visible when the building was renovated. The entire pavilion has Catalan vaults with wrought-iron inner structures between the walls and varied decoration on the intrados.

The representativeness of the building is highlighted by the profusely rich ornamentation and the quality of the chosen materials. In this sense, the Administration pays tribute to the endless expressive possibilities of ceramics applied to architecture.

The interior space is structured by vertical connections and facilities. The monumental staircase connected the representative spaces in the central body and the servants’ staircase situated between the side wings and the end bodies. Within the two pillars of the southern façade a spiral staircase connected the different floors of the building, from the basement to the foot of the clock tower, used tor internal maintenance purposes.

The ornamental repertoire that unfolds in the interiors, based on a wide range of applied arts, makes each space quite unique.

Marble and other types of stone were used for the paving in the most emblematic areas, those of transit and the ground floor, either in slabs or in Roman mosaic form. In more restricted areas the paving was made of red ceramic tile combined with polychrome elements of the same material with a special relief effect.

Despite not having a sanitary use, the ceramic dado rails are present in almost all the spaces and display a great variety of bonds, format and colour (square tiles, rectangular fish-scale tiles, hexagonal or beehive tiles, regular tesserae mosaic tiles in plain colours, in relief, glazed, ceramic in the round in crowning pieces, etc.).

The wall above this protection was one of the first examples of exposed brickwork employed in the interior of a non-industrial building. Domènech combined a very fine red compressed brick with grey blocks of unbaked lime mortar to chromatically enrich the inner skin of the building. Initially, these walls were glazed in the same colour of the base yet this unified the ensemble, and the chromatic treatment of the joints completed the perception of the desired texture.

The one-hundred-odd brick Catalan vaults of the ceilings of the pavilion were covered in ceramic material in different shapes and colours.

Chronology of the most significant interventions:

1959 – Creation of a University Residence Hall in the east wing of the pavilion. Manuel Puig Janer.

1960 – Renovation of the offices of the west wing. Manuel Puig Janer.

1966 – Remodelling of the basement to accommodate the new emergency rooms. Manuel Puig Ribot.

1983 – Remodelling, improvement and renovation of entrances. Víctor Argentí i Salvadó.

1985 – Restoration of the clock tower and the roofs of the west wing. Leopoldo Gil i Nebot, Joan Margarit i Consarnau and Carles Buxadé i Ribot.

1999 – Restoration of the roofs of the east wing. Santi Prats i Rocavert.

2008 – Restoration of the main façade of the side sections. Xavier Guitart i Tarrés.

2013 – Complete refurbishment and adaptation to new uses. ONL arquitectura.

The Sant Jordi and Santa Apol·lònia pavilions situated behind the Administration pavilion and close to the side entrances were those that received patients and where the first examinations were carried out. These weren’t connected to the underground network of galleries to avoid the risk of contagion in the case of infectious diseases.

These were one-storey pavilions made up of a main section with four cells that can be accessed through a roofed outside gallery and two end sections, one of which housed the kitchen and a room for the staff, and the other a bathroom and cleaning room.

Chronology of the most significant interventions:

Santa Apol·lònia

2009 – Complete restoration for use as exhibition space. Xavier Guitart i Tarrés.

Sant Jordi

2009 – Complete restoration for use as exhibition space. Rafael Vilà.

The configuration foreseen in the original design has been preserved, according to which the infirmaries and their services were located in isolated pavilions connected by the network of subterranean galleries under the roads and gardens of the enclosure.

The pavilions are all of the same type, with the entrance section tangent to the main avenue, the infirmary shaped as a longitudinal section oriented from north to south and an administrative section looking on to the outside of the complex. In fact, Domènech drew up a unique set of plans on tracing paper for the standard pavilions, so that in order to build those that were symmetrical all he had to do was turn over the page.

The design of each pavilion included the large patients’ ward, without compartmentalisations and with beds arranged along the two longitudinal façades, the day room for the most delicate patients who were unable to go out into the gardens, rooms that accommodated assistant health and medical services in the semi-basement, and administrative offices that could be accessed directly from the exterior.

The pavilions comprised a semi-basement, a ground floor and a first floor (only in the end section), although two pavilions (Saint Manel and Our Lady of Montserrat) had one extra floor. The outside entrances were on the ground floor and consisted of ramps and stairways that begin at the central avenue and, at the semi-basement level, at the centre of the pavilion. The galleries provide access to the semi-basement level of each of the pavilions.

The materials of the façades are the same as those of the other buildings in the complex: a base made of Montjuïc-stone ashlar masonry absorbs the semi-basement level and contact with the terrain, a central section made of ceramic face brick (with stone frames), and roofs made of polychrome tiles and glazed fish-scale ceramic. The ornamental elements make each pavilion unique.

In constructional terms, the ground-floor ceilings have Catalan vaults in the shape of lowered domes in the day room, and Bohemian vaults in the infirmary covering a span of nine metres. Underneath, the masonry wall weds the terrain. The roof structure of the patients’ ward is formed by a frame, metal beams and beam fills of ceramic brick. The end section has a flat roof that is accessible for maintenance of the ensemble.

All the interior spaces are covered in materials that guarantee hygiene (ceramic tiling or stucco work). The wide decorative repertoire is based on glazed or enamelled ceramic tiles, forming a great variety of textures and colours that create unique spaces starting from a typological configuration.

The original design studied very carefully how to achieve the standards of comfort and health required for the patients’ wards. The definition of the resources as featured in the report of the original design is quite illuminating, and we are transcribing it below.

Natural light and ventilation – High windows are needed to cleanse the atmosphere of the ward during the day by direct contact with fresh air and sunlight. This has to be done away from the patients in order to avoid drafts or too much light in the lower area of the ward occupied by the patients. Moderate light is required in the lower area of the ward, and above all, the view of the space outside even if only for its undoubtable moral effect.

Two orders of windows are established. An upper frieze with slanted light and air in the upper area of the wards; the sash of the glazed windows turns around a horizontal axis allowing fresh air in at a distance without endangering or annoying the patients, and blinds with wide slats graduate the light and shut it out completely if necessary. Blinds and windows can be opened and regulated by metal rods in the space in the wall and activated from the lower area.

The other type of ‘ordinary’ system is located between the beds, positioned slightly higher, providing patients with light and views. They have shutters to regulate or prevent the entry of light if necessary.

Gradual ventilation. Most of the vaulted ceilings of the wards have transversal air conducts with openings at the ends of the façades in the form of lobulated rose windows. These conducts have grilled openings in the floor of the wards located either between the beds or in the central space, that could be opened at will to allow the entrance of fresh air. ‘Butterfly windows’ in the vaulted area complement the grilled openings and provide a draught that pulls the stale air up to the ridge of the roof. This gradual natural ventilation is used when the temperature of the outside air is mild enough. When this is not the case, artificial ventilation and heating systems are used.

Artificial ventilation and heating – In the spaces between the windows in the large wards a ring of heating channels is embedded in the thick walls and vaults. A sunken gallery runs lengthwise along the lower part of the basement, beginning at the end of the building that houses the facilities. Other channels emerge perpendicularly from both sides of this central channel and lead to the bases of the pillars on each of the façades. Cylindrical pipes of brick measuring 15 x 60 cm in diameter are mounted on the back of each pillar and are connected at the top to other horizontal pipes measuring 60 x 40 cm in diameter set between the pair of beams that counteract the thrusts of the vaults. A ring of heated air is formed between each section of windows. The air vents open in the central part of the ward and at both ends of the façades, and the airflow can be regulated. In the empty space of the walls it follows the channel vertically up to the expulsion chimneys on the roof. The system is activated during the short cold seasons. The pipes can be connected to different heating systems: central vapour ducts or special vapour ducts in each pavilion, single heaters in each pavilion or several heaters in the wards.

Drinkable water – Each pavilion has a water tank that distributes clean, drinkable water and is placed above the circular servants’ staircase. From the exterior they look like turrets crowned by a small dome; the circular body is covered with ordinary tiles and the domed roof is covered in glazed fish-scale tiles. They are made of reinforced concrete or ceramic brick with three different thicknesses in cloisonné and strengthened with iron rings. The water is distributed through networks of double-pressure lead pipes.

Sanitation– All the hygienic apparatuses have water traps and drains for the purpose of cleaning and removing bad smells. The drains lead to a tank buried in the centre of the garden of each pavilion and connected to the drainage system of the whole complex.’

Over the years, due to the new sanitary requirements as regards space and facilities, these pavilions suffered numerous alterations that gradually distorted their original features. The large spaces in the day rooms and patients’ wards were horizontally compartmentalised in order to increase available ceiling surface. Vertical separations divided spaces up to form rooms, consequently affecting the openings. New finishes were superimposed on interior floor and wall surfaces, and all passive cooling and solar control systems originally foreseen were scrapped.

The collapse of the dome in the day room of the Our Lady of Mercy Pavilion, which fortunately caused no personal damage, triggered the project to build the new hospital.

Today these pavilions have been renovated and adapted to new uses in keeping with the guidelines of the General Plan, returning the layout to the original spatial design. Small additions have been made to the ceilings, revealing Domènech’s original spatial conception while introducing modern facilities and catering for present-day needs.

Cronologia d’intervencions més significatives: 

XXXX – Consolidació 

Located at the heart of the central avenue, the surgical pavilion housed the operating theatres and related medical spaces that served the other pavilions. It has a ground floor, two storeys and a basement connected with the underground galleries of the complex.

The most outstanding feature of the building is its compact volume and the three apsidal spaces with glass walls and roofs that look north and welcome diffused natural light housed the operating theatres (the main one on the ground floor and two secondary theatres on the first floor). Laboratories, workshops and plaster rooms were in the basement; the sterilisation, anaesthetic and post-operation rooms on the ground and first floors; and the X-ray and photography laboratories on the second floor.

In his report on the original design, Domènech i Montaner described in detail this pavilion’s special ventilation and heating systems, to illustrate his study of the range of technical solutions available to guarantee the highest hygienic and sanitary conditions.

‘Every operating theatre and group of wards have special hot air ducts that run from the heating chamber in the basement, befitted with a specific generator with separate vapour tubes. The different sections share the vapour generator, but the air intake and its circulation in the wards and rooms are independent. At the entrance, each room has a double grille that filters and purifies the air with antiseptic absorbents. Each chimney or exit of stale air is also completely independent.


Cronología de intervenciones más significativas:

XXXX – Consolidation of the structure, restoration of the façades and roofs, removal of non-original interior elements. Isabel Rodón.

XXXX – Interior renovation of the first floor. Ramon Godó.

2015 – Renovation of the interior spaces. Dilmé, Fabré, Torras and Associates.

The project to develop the site contemplated the 145,470 m2 of its total area.

All the buildings are connected by an underground network of tunnels. The galleries are fitted out with heating, water, gas and electricity installations that guarantee supplies to each separate building, and in their upper areas allow the entry of natural light and air.

The basements and the ground floors can be accessed from the entrance square, located at the south end of the complex in front of the Administration Pavilion. The original project envisaged the square laid out around a flower garden surrounded by ramps that looked on to the central porch. Other flower beds on the side separated the ramps from the flat access to the end sections. Successive revisions of the design featured the central pond, the staircases and the monument to the patron, Pau Gil, by sculptor Eusebi Arnau. By means of this topographical solution the square was able to overcome the sharp gradient of the enclosure’s transition to the city, awarding it a monumental quality and highlighting the transparency that provides a view of the interior from this privileged spot.

Crossing the area of the porch, the space is arranged starting from two main avenues measuring 50 metres in width (like the roads in the L’Eixample district) and 500 metres in length, that are perpendicular to one another and situated diagonally to the grid of L’Eixample, from north to south and from east to west. The secondary paths between the different pavilions measure 30 metres in width (like the ring roads of the city at the time), and the infirmary wards are separated by gardens of the same width. Slight variations in the slopes of the garden areas lead to the centre of the semi-basements of the eastern pavilions and to the ground floors of the western pavilions, forming meandering diagonal paths between both sides, a fresh summer garden to the north, and a sunny winter garden to the south. From the point of view of the materials, the overall concept for the development was very interesting. The road, paved with gravel, was on a level with the perimetral cobblestone pavements, and strips of cobblestones marked the convergence with plants and facing walls. The crowning of the walls, and the ramps and staircases – many of which still survive – were made of Montjuïc stone.

Domènech designed a sewage system for the complex, in keeping with his idea of providing the new hospital with the most advanced hygienic conditions of his day and age. Funnily enough, at the time it was built it was impossible to connect the sewers to the city’s public sewage system, which had yet to be built.

The construction work and development were carried out by three different contractors.

The choice of plant species for the grounds obeyed scientific and pharmaceutical reasons, as well as landscape gardening criteria.

The overall development underwent several changes over time, when motor vehicles were allowed inside the grounds, for instance, and when new plant species or geometric designs were introduced.

The refurbishment project designed by DATA AE + GRND 82 and Isabel Benassar (2012-2016) for the Art Nouveau Enclosure preserved and recovered certain features of Domènech’s original design, and introduced a number of material and topographical variations to adapt it to the needs of its future uses.

Cronología de intervenciones más significativas:

XXXX – Consolidació 

Pere Domènech i Roura, son of Domènech i Montaner’s, had been a member of the technical team of designers working on the project from the very beginning, and so was the natural choice to take over the building work in the second phase of construction, characterised by the austerity imposed by the financial restrictions once the Paul Gil bequest had been exhausted.

The monumental nature of the buildings began to wane and the lower quality of the materials became a distinguishing feature in the conditions of conservation of the various elements over the course of time.

The Central Pavilion. The original project proposed building a triple pavilion in the middle of the central avenue. The idea was that the central section would accommodate the convent and dispensary, and the two side sections would house the kitchens, that would be connected to the convent by elevated covered bridges to make sure the design of the avenue was not interrupted. The convent was structured around a central courtyard, on every side of which were the rooms. It included a chapel that closed the courtyard on the north side, and a large cross atop a tower that was a replica of the clock tower in the Administration Pavilion. The dispensary and the kitchens were organised around a covered central space surrounded by galleries, and began to be built in 1922. Domènech i Roura preserved the overall volumetric configuration yet reduced its monumental quality by quite an extent. He altered the size of the chapel and did away with the central tower. Incidentally, the side façade of the kitchen wing was from the former Santa Maria Hospital (originally built in the grounds of La Ciutadella Park, demolished in 1716 and rebuilt in the district of Sant Pere before it was dismantled again when the Via Laietana thoroughfare was opened in 1908-1909). In the end it did not stand in the central position it was supposed to occupy and only a few pavilions were built above it, many years later, that didn’t follow the original guidelines.

Church and Annexes. This is one of the pavilions situated on the outer perimeter of the complex that could be accessed independently from the street and was designed to accommodate the place of worship and its services, as well as the residences of the ecclesiastical staff, nurses and Brothers of the Hospital in two annex wings in the nave of the church. Here as in other cases, Domènech i Roura adapted the original design, maintaining its volume and substantially reducing its monumental quality. A great central dome, surrounded by four side cupolas (resembling those of the corner tower at the Lleó Morera House) was supposed to crown the pavilion, but in the end it wasn’t built, although traces of the initial proposal have survived.

Pavilion of the Resurrection. Erected on the spot reserved for a funerary chapel in the original project, this pavilion was built in 1928. In the year 2000 it was demolished because it occupied the land destined for the construction of the new hospital.

Laundry Pavilion This pavilion was built in 1927 in the area that was originally intended for the water tower in Domènech i Montaner’s design, in the centre of the section on Carrer Mas Casanovas. The building centralised the hospital’s laundry and clothes’ disinfection areas, services it continued to provide until they were outsourced in the late seventies. In 1996 the pavilion was knocked down for the construction of the new hospital.

The Powerhouse. The pavilion that was designed to guard the machines for producing gas and electricity was never actually built. It was supposed to stand where we find today’s Convalescent Home. In 1927 the construction of the new powerhouse was planned. As the individual system installed in 1916 had proved to be clearly insufficient, the new design would contain the boilers for producing vapour, heating and hot water for the different pavilions. Four boilers were installed, two for hot water and two for cold water), two groups of electro-pumps for their propulsion, accumulation tanks and long-distance thermometers to control the exit temperature. Every hour, 1,600,000 calories and 630 kg of vapour were generated.

Extension of the tile factory. In 1919 land belonging to the Utset family were transferred to the property (in the upper left area of today’s grounds). A tile factory existed on the site, which Domènech i Roura decided to enlarge, adding a continuous oven with multiple chambers and a chimney, in order to supply the 250,000 tiles a month required for the construction work. The building was demolished in 1996 to make room for the new hospital premises.

Pavilion of de Saint Charles and Saint Francesca. Located behind the Central Pavilion and constructed between 1927 and 1930, this building didn’t appear in the original design. The structure contained two large patients’ wards dedicated to elderly people. It was built thanks to the Francesca Balart legacy. It was knocked down in 2005 to provide space for the new hospital building.

The Convalescent Home. Designed by Domènech i Montaner and built between 1922 and 1930 by Domènech i Roura following the death of his father in 1923, this is one of the last great Catalan Art Nouveau works. It was the headquarters of the institution founded in 1680 and linked to Santa Creu Hospital, before it was moved it occupied a building on Carrer del Carme (that is now home to the Institute of Catalan Studies). The building was intended to accommodate convalescent patients and had a capacity for one hundred residents. Despite being made of the same materials and in the same colours as the other buildings in the grounds, the Convalescent Home was more austere.

Pavilion of Saint Victoria. Located between the Pavilion of Saint Frederick and the Convalescent Home, it was designed by Domènech i Montaner and completed by Domènech Roura between 1922 and 1925. This building didn’t form a part of the initial 1905 project, and stands in the place originally destined to the Disposal Pavilion. Made in the fashion of the Pavilion of Women’s Infectious Diseases, its decoration was simpler and it had no domed roof. Originally intended as a medical pavilion for girls, its construction was possible thanks to the bequest of Elvira and Emília Llagostera Suís, and was directly administered by their nephew Dr Daniel Girona. The lack of space was remedied in 1934 when Manuel Puig, hospital architect at the time, designed an extension that consisted of the addition of another floor following the original composition and structure. In 1973 a second, less respectful extension was built that consisted of an annex attached to the southern façade. This extension was demolished in the late nineties.

Pavilion of Saint Frederick. Located behind the church and built in 1928, this pavilion no longer forms a part of the original design. Its construction was made possible thanks to the contribution made by Frederic Benessat’s and it was dedicated to children’s surgery. It diverged from the functional layout of the other pavilions, with two nursing wards, but it preserved the water tower on the main façade.

Pavilion of Our Lady of the Assumption. Built in 1926 thanks to the contributions made by Rafel Patxot and Juvert and Lluïsa Rabell i Cibils, it was a pavilion for TB patients. This pavilion wasn’t located on the main avenue, but on the perimeter close to Carrer Cartagena; today it is attached to the Puigvert Foundation building. Domènech i Roura sought inspiration in the original design of two-storey pavilions (Saint Manuel and Our Lady of Montserrat), and made some variations to adapt it to available funds, such as doing away with the underground floor. The building has suffered numerous alterations and extensions to adapt it to the needs of the urology service at the Puigvert Foundation.

Pavilion of Saint Manuel. This building forms a part of the original design and was erected in 1923, begun by Domènech i Montaner and completed by Domènech i Roura. The last pavilion for patients to be built on the central avenue and intended for general male surgery, it was a two-storey structure and had a semi- basement. It was financed and directly administered by its benefactors, Agustí, Pere, Dolors and Mercè Marinés i Molins, on the condition that it be built as quickly as possible and in one operation.

  • The pavilions that featured in the original design and yet were never actually built are documented in over 180 plans kept in the Historical Archive, along with the report describing the original project.This is the list:
  • Linen Disinfection Pavilion
  • Disposal of Infected Linen and other Materials Pavilion
  • Machinery Pavilions: Gas and electricity production, washing machines and workshops
  • Water tower and pumps
  • Male Medical Pavilion (located above the Central Pavilion and structurally identical to the Our Lady of Montserrat Pavilion, which was constructed
  • Gynaecology Pavilion
  • Special Diseases Pavilions (with two patients’ wards instead of a single space, but the same total dimensions)
  • Obstetrics Pavilion
  • Syphilitic Pavilions
  • Pavilions for the Hospitalisation of TB Patients
  • Pavilions for the Treatment of Typhoid Fever and other Infectious Diseases
  • Pavilions for Chickenpox Patients
  • Secondary Pavilions for the Treatment of Infectious Diseases
  • Isolation Pavilions (wards for patients with highly infectious diseases, parallel to Carrer Sant Quintí)
  • Children’s Hospital (separated from the other buildings in the complex and accessed independently from Carrer Sant Quintí)
  • Dispensary (the land destined for this pavilion on Carrer Cartagena now houses the modern buildings of the Puigvert Foundation)
  • Hospital Residency (exterior access at the upper corner of the complex, between Carrer Cartagena and Carrer Mas Casanovas)
  • Autopsy Ward
  • Mortuary Chapel


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