1st May – May Day – International Workers’ Day

Workers of the World - Unite! - May Day 1920

Workers of the World – Unite! – May Day 1920

More on the ‘Revolutionary Year’

More on Britain …

1st May – May Day – International Workers’ Day

May Day, the first of May, has been the ‘official’ International Workers’ Day since 1891 when the Second International, the successor to the International Working Men’s Association (women, for some reason unknown to me, were not considered in those early days of conscious and organised socialism and in the establishment of one of its most important organisations) – which came to be known as the First International – following the outbreak and rage at the events that followed the meeting of striking workers in Chicago, USA, on May 4th 1886.

Organised labour in the United States had set the date of May 1st 1886 for the gaining of an ‘Eight hour day without any cut in pay’. This followed similar movements that had developed in Europe. The movement began as early as 1817, after the coining of the slogan ‘Eight hours labour, eight hours recreation, eight hours rest’ in Britain, the birthplace of the Industrial Revolution. This was emulated in other European, industrialised countries and became an official demand of the First International soon after its formation.

When the employers refused to cede such an improvement of working conditions thousands of workers throughout the United States went on strike. In Chicago the workers were particularly well organised. By the latter part of the 19th century the city had become one of the most important in the USA (especially after the Union victory in the Civil War) as it was not only an important transport hub linking all parts of the country but also a growing industrial centre due to the advantages these links to the rest of the country offered burgeoning American capitalism. On top of this it was the stockyards, receiving, slaughtering and processing millions of cattle from the western plains, that virtually fed the country.

These conditions created the environment for a strong trade union movement which grew in reaction to the dire conditions which always reign in rapid capitalist expansion – the stockyards, especially, being as unpleasant for the workers as they were for the animals.

A series of meetings, rallies and demonstrations were organised in the days following May 1st as the workers stepped up their pressure on the employers. On the Tuesday 4th, a peaceful meeting had been taking place for some time when massed police ranks arrived and demanded that the speakers ‘desist’ and the crowd ‘disperse’. Immediately after that demand a bomb was thrown at the advancing police and seven died either there or of their wounds. Gunfire broke out, 4 demonstrators were killed, dozens wounded and about 60 police suffered from gunshot wounds of varying degrees – mainly, it was commonly accepted, from the erratic firing of fellow officers.

Who actually threw the bomb and why was never proved beyond doubt. However, what was certain was that it was the organised workers who were tried, 4 of them eventually being strangled on the gallows – they didn’t ‘hang’, by accident or design, as they didn’t fall so as to break their necks. What was also certain was the anti-red, anti-trade union purge that followed as well as a concerted press campaign to vilify the workers and promote the police as innocent victims of dangerous, out of control, anarchists. This is a circumstance that has been repeated innumerable times in the years since, in all parts of the globe.

Conspiracy trials go against even the bourgeois legal tenet of ‘innocent until proven guilty’ as the burden of proof is laid at the feet of the accused, not the accusers. In the heightened environment that often surrounds such trials the chances of the accused being found not guilty is remote and for thinking individuals the whole affair is seen as a stitch-up and a gross miscarriage of justice – in Britain it’s sufficient to mention the case of the Tolpuddle Martyrs (farm workers transported to Australia for forming a union in 1834) and the Shrewsbury 24 (tried and convicted of conspiracy, although the way the media presented it they were guilty of using and threatening violence, after the 1972 building workers strike).

Demonstrations and strikes on May Day became the focal point for struggles throughout the world as the working class started to stand up for its rights and the red banner of communism flew over more and more streets – for the truth of any society is that whoever rules the streets rules the country.

With the victory of the first workers’ and peasants’ revolution in Russia, which became the Soviet Union, May Day took on an even greater importance. Each year as the workers and peasants marched through Red Square when they took a break away from the collectivisation and industrialisation of one sixth of the worlds’ land mass, they were throwing down a challenge to the workers in the rest of the world – do you want to live in freedom or remain under the yoke of capitalism?

After the victory of the revolution in what became the Peoples’ Republic of China in 1949 the May Day holiday became one of the major public holidays in the country. This remained until just a few years ago (even after the restoration of capitalism under the ‘running dog and capitalist roader’ Deng Tsiao Ping who had led a successful counter-revolution and managed to fool the population that for individuals ‘to get rich’ was the best way forward for the country and the people). The result might be that, on paper, the country is becoming richer but that is only because more and more of the wealth of the country is in the hands and under the control of a small number of billionaires with the consequence that hundreds of millions find their conditions of life getting worse day by day. Until May Day yet again becomes a rallying point for the Chinese people they will only see the situation of the vast majority of the population becoming worse.

In capitalist countries strikes and demonstrations on, or around, May 1st were an indication of the success and effectiveness of trade unions and other working class organisations. It’s a truism that the level of international solidarity depends upon the determination and ability to fight for local advances in conditions or against attacks on workers’ rights by home-grown capitalists.

Solidarity with struggles of other workers throughout the world was at its height, in Liverpool, in the 1970s when organised labour was fighting throughout the area on issues as diverse as: shorter working hours; against factory closures – which included many occupations, takeovers and sit-ins; welfare benefit rights; rent strikes; supporting struggles to maintain the gains under the welfare state in health and education, to mention just a few. Unfortunately, for reasons of lack of leadership and lack of clarity of thinking on behalf of the workers, most of these issues were defensive and we live with the failure to go on the attack and fight for a socialist future that has led us into the situation we now find ourselves.

It was in this highly charged political environment that international solidarity found fertile ground. The flag of the Vietnamese National Liberation Front flew over the streets of Liverpool as opposition to American aggression in Indochina grew stronger and louder. The May Day of 1975 was a special affair. Coming the day after the liberation forces’ tanks had crashed through the presidential palace and the lackeys, hangers-on, whores and spivs had fought to get out on the last helicopters to leave from the roof of the American Embassy – the machines to be later pushed off the aircraft carriers of the ‘mightiest nation on the planet’ into the South China Sea – that May Day demonstration was both a celebration of a shared victory and a declaration of intent on other fronts.

Support for the struggle of the African people against the racist and apartheid regimes in Rhodesia, South Africa, Mozambique, Angola and Guinea-Bisseau were also at their height during this period. As was support for the people of Chile whose social democracy, with the electoral victory of Salvador Allende, had shown itself wanting when faced with the armed might of a fascist insurgency. The strength of support for the Chilean people in Liverpool was why so many of them found a welcome there when they fled into exile. This support for Latin American peoples was also expressed in the support for the Sandinistas in Nicaragua whose victory against the Samoza regime in June 1979 seemed to open the way of hope for the people’s of Central America.

But there are always twists and turns in the road. Lack of vigilance means that the leadership of the movement can be side-tracked and taken down dead ends. This happened after the election of Tony Blair in 1997. Any organisation in Liverpool just seemed to dissipate and the May Day demonstrations that had seen tens of thousands marching to the Pier Head became an embarrassment as a handful of people would attempt to keep the tradition going.

Even though there are even more reasons for people to be on the streets to show their anger after the ‘great bank robbery’ – where the bankers do the robbing – of the last six years and the direct involvement of Britain in disastrous, murderous and hugely expensive wars and interventions in Afghanistan, Iraq, Libya, Syria, for example, as well as the present day threat that the country might get involved in such ‘adventures’ in Iran and even the Ukraine, the streets today will remain quiet – or at best we’ll hear a whimper.

It seems that today we are happy to send our sons (and, increasingly, daughters) to fight and die in other lands killing other workers but are not prepared to fight to maintain the gains of the past, let alone move forward to a better future.

In 1886 the workers in Chicago were fighting for an eight-hour day. Now we hear of people taking work home as there’s not enough time in the workplace to complete their task; many people are putting in unpaid overtime in order to try to maintain their employment; and only yesterday it was announced in a report that there are 1.4 million (and probably many more) ‘zero hour contracts’ which provide maximum benefit for the employer and insecurity and uncertainty for the employed.

Capitalism might be laughing all the way to the bank today but tomorrow we will reclaim May Day as Vladimir Ilyich Lenin, the great Russian Marxist, described it in 1904:

‘… the day when the workers of all lands celebrate their awakening to a class conscious life, their solidarity in the struggle against all coercion and oppression of man by man, the struggle to free the toiling millions from hunger, poverty and humiliation. Two worlds stand facing each other in this great struggle: the world of capital and the world of labour, the world of exploitation and slavery and the world of brotherhood and freedom.’

A Happy May Day to all!

More on the ‘Revolutionary Year’

More on Britain …

Mies van der Rohe Pavilion, Barcelona

Mies van der Rohe Pavilion

Mies van der Rohe Pavilion

More on Catalunya/Catalonia

Mies van der Rohe Pavilion, Barcelona

If, after a few days in Barcelona, you’re suffering from a surfeit of Modernism (too much Gaudi or Domenech i Montener) then you could do much worse than visit the Mies van der Rohe Pavilion in the exhibition and conference area, between the Plaça de Espanya and the Museu Nacional d’Art de Catalunya.

Many, many thousands of people walk close-by but the overwhelming majority of them – unless they are specifically looking for it – won’t even know of the existence of this building or know of its importance in the development of 20th century architecture.

The German Pavilion and the International Exhibition of 1929

The present building is on the same spot as the original (designed as the German Pavilion for the 1929 Barcelona International Exhibition) but for more than 50 years nothing was there, just an empty space, an even more extreme example of minimalism.

Although it appears to be a house there’s no accommodation, kitchen or bathroom. I don’t understand why, it just wasn’t part of the requirements of the commission. I would have thought that creating a realistic living environment would have been more useful in promoting the Minimalist argument but Mies didn’t think so and just created ‘a space’ through which the people visiting the pavilion couldn’t just use it as a shortcut to the Pobla Espanyol, they had to see all of it.

The structure followed those tenets of Minimalism established a few years earlier: angular in appearance (no ‘softening’ of the structure which was taken for granted by the Modernists); a flat roof supported by simple iron columns; large, plate-glass windows – virtually forming the exterior walls; and limited, and purely functional furnishings.

When the exhibition finished attempts were made to find a buyer for the structure, and there was even a proposal to establish a restaurant in the location, but that all fell through and the German government decided to sell the iron for scrap and sent the travertine, marble, onyx (the types of stone used in the original) and the sculpture of a female nude (Der Morgen, ‘Morning’), by George Kolbe, back to Germany.

‘Less is more’ – the Mies van der Rohe motto

The Minimalists arose as a reaction to the over decoration that had been a dominant force in European architecture and was heavily influenced by traditional Japanese design. The Minimalists sought to reduce buildings (as well as objects and art) to their necessary elements, eschewing decoration that was over and above what was used, in a practical manner, to achieve the desired result. In the Mies Pavilion this is shown by the use of colourful and imaginatively pieced together slabs of marble and onyx for the walls or the travertine used on the floor.

Entrance - Mies van der Rohe Pavilion

Entrance – Mies van der Rohe Pavilion

The Bauhaus – the inspiration for Mies

Mies van der Rohe was one of the triumvirate of Minimalist architects which were to have a considerable impact upon the architecture of the 20th century, although this is not always that obvious. The other two were the Swiss Charles-Édouard Jeanneret-Gris, but always known as Le Corbusier, and a fellow German,Walter Gropius.

It was Gropius who had designed the Bauhaus in Dessau, in the Weimar region of Germany, which was completed in 1926. This established some of the ‘ground rules’ for Minimalist architecture with its angularity, use of iron columns, concrete and a lot of glass, as well as dividing the building up (it originally functioned as an art and design college, together with accommodation for students and staff) so that the design reflected the use of each section.

However, the Bauhaus complex exposed problems (I’m not going as far as to say failings) of the Minimalist approach, something which the Pavilion in Barcelona never would as it was never ‘used’ in a real life context, only ever being an exhibition space, a concrete realisation of the ‘idea’.

To some extent these problems arose due to the use of glass and the openness that this implied. In the Bauhaus, aligned as it was to make maximum use of natural light, the students would be cooked as the sun shone through the windows in the summer – if the Bauhaus had been constructed in Britain this would not have been a problem. In order to survive the ‘solution’ was to put up curtains, a total anathema to Minimalist thinking. In the winter the problem was the reverse. Any heat created inside the buildings just dissipated through the not very insulation efficient windows with their iron framework.

Privacy perhaps wasn’t a major issue for the classrooms but it was for the teachers in their homes, situated a short distance from the college building – or at least for one of them, the Russian born painter, Wassily Kandinsky.

It seems he didn’t like living in a ‘goldfish bowel’ and painted over the glass windows to his house. He also didn’t like the minimalist decoration of the house where the walls were painted in plain colours to reflect the function of that particular space. He was reputed to have used a palate of hundreds of colours in counteracting the original, simple selection.

This situation, didn’t, couldn’t and will never arise from the Mies Pavilion as it has no real function, perhaps yet another ultra-minimalist statement.

The Pavelló Mies

After the death of the Fascist Franco the Barcelona Municipality decided to attempt a reconstruction and as all the plans, together with photographs of the original, were to hand the project was completed and the ‘new’ building opened on 2nd June 1986.

The statue of Morning, by Kolbe, had found a permanent home in a public square in the Schöneberg district of Berlin so a copy was made and that now stands where its original had in 1929, on a plinth in the small pool.

'Der Morgen' - Morning - George Kolbe

‘Der Morgen’ – Morning – George Kolbe

The Barcelona Chair

Minimalists tried, when at all possible, to not only design the building but all the interior fittings within the structure. At the Bauhaus, for example, Gropius designed the light fittings, power sockets, door and cupboard handles to mention just a few. In this way they were very similar to the Modernists the result of which can be seen in the Museu Nacional d’Art de Catalunya, at the top of the steps above the fountain a few minutes walk from the Pavilion.

For Mies this resulted in the design of what is still known as the ‘Barcelona Chair’, a simple padded chair for one person based upon a tubular steel structure. This is still made and bought in their thousands today and is one indication of the longevity and reach of Minimalist ideas which might not be recognised by those who sit in those chairs – which are said to be quite comfortable. Don’t try that at the Pavilion or you’ll be thrown out on your ear.

'Barcelona' Chair - Mies van der Rohe Pavilion

‘Barcelona’ Chair – Mies van der Rohe Pavilion

Just as an aside, another well-known everyday design from that period of the 1920s is the anglepoise lamp.

A breath of fresh air?

Although in no way as extensive as the Modernist buildings in other parts of Barcelona and Catalonia the Mies Pavilion is still worth a visit but it might be worthwhile doing a little bit of research before a visit so you know what you are looking at and the intentions of the architect. At the same time only a real aficionado of Minimalism would be there for more than a half an hour – if that.

Location and contact details:

Pavelló Mies van der Rohe

Aviguda Francesc i Guàrdia 7

Parc de Montjuic

08038 Barcelona

Tel: +34 93 4234016

Internet: The Mies van der Rohe Foundation

How to get there:

The nearest Metro station is at Plaça de Espanya – this is also a major bus intersection. From there take the exit directing you to the Palau de Congressos and the Museu Nacional d’Art de Catalunya. Walk along the right hand side of the avenue, go up the first set of escalators and then turn right alongside the sandy park space. The building is just in front of you but remember it’s minimalist so you have to look hard.

Opening times:

Everyday between 10.00 – 20.00

Entrance: €5

(At 10.00 on a Saturday a free guided tour in English is advertised. You still have to pay the entrance but there was no information of having to book in advance.)

More on Catalunya/Catalonia

Santa Creu i Sant Pau Recinte Modernista

Hospital Santa Creu i Sant Pau - Administration Building

Hospital Santa Creu i Sant Pau – Administration Building

More on Catalunya/Catalonia

Santa Creu i Sant Pau Recinte Modernista

The largest, and in many ways the most impressive, of the Modernist sites in Barcelona, indeed in all of Catalonia, is probably also one of the least known and visited. This is the Hospital de la Santa Creu i Sant Pau, designed by the architect Lluís Domènech i Montaner who was also responsible for the Palau de la Música Orfeó Català.

Although it’s always been possible to get an idea of the place (I first had the chance to walk around in the late 1990s) it was still used as a working hospital up to 2009 so access was limited to what you’d find in any hospital in the UK. Following its closure as a medical facility it has undergone a clean up and restoration and all I can say is that they have done a magnificent job – it looks as if it had just been completed rather than having the first stone laid on January 15th 1902.

The history of the hospital itself goes back a long way. The first Santa Creu (Holy Cross) was established in the Raval area of Barcelona with the foundation stone being laid on February 13th 1401. This became a large Gothic structure designed along the lines of an ecclesiastical cloister. However, after 500 years it was showing its age and not really up to the demands of ‘modern’ medicine and was also taking up space in the centre of an expanding industrial city. (The Raval area includes what is presently known as the ‘Barrio Chino’, for some a no-go area on the southern side of La Rambla, more or less the area behind the Liceo Opera House.)

The money to kick-start the development came from a bequest in the will of a Catalan banker, Pau Gil i Serra, who made his ill-gotten gains in Paris – it’s his statue that stands above the fountain on the steps up to the main entrance, with Charity looking after the sick and poor in front of him and huge frogs on either side (I don’t know what they signify). He stipulated that the hospital should take up the challenge of the rapidly increasing advances in medical science and also that it should be dedicated to Sant Pau (Saint Paul), so his name was added to the original Santa Creu.

Hospital Santa Creu i Sant Pau - Pau Gil i Serra

Hospital Santa Creu i Sant Pau – Pau Gil i Serra

There was a competition but none of the three submissions were considered adequate so the commission was given to Domènech i Montaner (obviously no hint of nepotism or cronyism there!).

By all accounts he did his research and studied what was happening in hospital architecture throughout Europe and came up with the arrangement which had separate pavilions, devoted to different aspects of medicine, and then connected them all together with an extensive underground passageway system, providing access without having to go outside. That idea has gone out of fashion now and most modern hospitals are huge all-encompassing buildings, few of them seeming to have been designed with a scintilla of imagination.

The complex seems vast now but it’s only just over half of what was in the original plan as Domènech i Montaner planned 48 buildings, only 27 were actually constructed. He died, in 1923, before even that number was completed and the work was continued by his son to make the hospital ready for its official opening in January 1930.

The jewel is definitely the main building on the corner of Carrer de Cartegena and Carrer de Sant Antoní Maria Claret. The building embraces the corner of the two streets and the approach is up the wide steps in the centre (with the statue and fountain). If you scan the façade of the building you start to notice those signature elements of Catalan Modernism: nature, the female form and Catalan nationalism as well as the use of the locally produced (then) building materials of brick, tiles, glass and wrought iron.

Hospital Santa Creu i Sant Pau - Entrance Hall

Hospital Santa Creu i Sant Pau – Entrance Hall

Once inside you’re greeted by intricate and colourful tile work which continues as you walk along the passageways and into the rooms off them. When there’s a natural break, a doorway or a corner, there’s a different style and/or colour. I’ve still not really understood why this all works. In other buildings (most notably the Palacio Real in Madrid or the Baroque Basilica de San Juan de Dios in Granada) when I’ve been faced with such extremes of ornamentation I’ve felt physically sick and have to leave to get some fresh air (or a beer) but that isn’t my reaction to Modernism. Something ‘softens’ the attack of colour and design and the overall effect becomes less of an assault on the senses.

The plan is to use the Administration Pavilion as an event/conference venue and that has meant that some of the spaces have been adapted for a future use but as far as I could see this had all been done whilst at the same time maintaining the integrity of the original designs.

A couple of spaces are worthy of special mention. The first is what would have been the chapel which is now called the Montaner Hall. You really have to look for Christ as he’s on a cross on the back wall of a first floor balcony. There’s no obvious altar now so I assume that it would have been a table structure on the ground floor underneath that crucifix. There’s the words of a short prayer (in Catalan) forming the balustrade of the balcony on three sides of the hall; an image in relief of Sant Jorge (Saint George) slaying the dragon above one of the doors; and a large mosaic which is more geometric with stylized plants and flowers rather than anything religious – this mosaic is underneath the crucifix.

Hospital Santa Creu i Sant Pau - Chapel

Hospital Santa Creu i Sant Pau – Chapel

These mosaics, made from small pieces of ceramics and called ‘trencadis’ in Catalan, is very much a feature of Domènech i Montaner’s style of working. His style is much more in the tradition of the Roman mosaics where it’s possible to discern an image, be it of a plant, decorations on columns or pictures of choristers (as it is in the Palau de la Música). On the other hand Gaudí’s style was to break the tiles into larger pieces and creating a colourful design without necessarily wanting to represent anything identifiable – as is the case on the benches in Park Güell. His use of the smaller pieces on the Dragon on the fountain is to create colour rather than form as the creature is made out of stone onto which the tiles are fixed.

The other area of special note is the main stairwell immediately to the left as you enter the administration building. Here the supporting arches are covered with ceramic tiles and the spaces in between contain geometric mosaics made again by smaller pieces of, this time, white and beige tiles. Also interesting here is the skylight that’s very reminiscent of ‘The Sun’ above the main auditorium of the Palau de la Música. The large wrought iron lamp on the banister half way down is also a one-off in the building.

Hospital Santa Creu i Sant Pau - Main Stairwell

Hospital Santa Creu i Sant Pau – Main Stairwell

In order to get to the other buildings you head down into the basement and then along part of the network of underground passageways that unite all the separate parts of the original hospital. You can’t explore all of these as the pavilions that are out in the garden are either used by different organisations or have yet to be restored. Nonetheless you do get an idea of what Domènech i Montaner was aiming for, keeping all the servicing of the hospital’s requirements underground and creating the ability to get to all the pavilions without having to pass through or disturb any of the others.

Hospital Santa Creu i Sant Pau - Basement

Hospital Santa Creu i Sant Pau – Basement

Once outside the main administration building it’s easy to see why Sant Pau was sometimes referred to as a ‘garden hospital’. In fact, if you didn’t know the different buildings were part of a medical complex you would be hard pressed to come to that conclusion. Used, as we are now, to generic, functional and normally boring and uninteresting structures where we go to have our medical requirements fulfilled (the new hospital in Reus being a noteworthy exception to this ‘rule’) the buildings seem to be more like homes for the rich than wards and laboratories.

Although I find their exteriors fascinating I wouldn’t have liked to have spent any length of time either working in them or being a customer (what used to be called a ‘patient’). Photographs of the wards make them seem cold and austere, however much they might have been ‘state of the art’ on their completion in 1930.

Only a few of the buildings have been fully restored and now have a new lease of life as offices for different organisations that look for attractive pictures to put on their publicity. When I visited it was part of the open days and some of these organisations allowed people to look into their space but I assume that on a regular basis it would only be the outsides that are part of the tour. But the outsides are enough and stylised plants and fruit made from colourful tiles sits well with the orange trees below.

Hospital Santa Creu i Sant Pau - Garden Pavilions

Hospital Santa Creu i Sant Pau – Garden Pavilions

Also worth looking for whilst out in the garden are the different mosaics which decorate the sides of some of the pavilions. There are a couple of Sant Jorge and also (just above the entrance to the obligatory souvenir shop cum exit) depictions of the planning of the project and the laying of the first stones.

Hospital Santa Creu i Sant Pau - Mosaic

Hospital Santa Creu i Sant Pau – Mosaic

At the moment only eight of the buildings have been fully renovated. The initial plan, for which a budget of €100 million has been allocated, takes in 12 buildings and they are those around the central building of the garden as well as the administration building itself. That still leaves 15 (assuming they have all survived into the 21st century) and some of them are very large indeed so whether the finance will be there in the future must be in some doubt. The present funding was secured before everything went down the pan and we are now rewarding the bankers with ever-increasing bonuses means there’s less for other projects.

Hospital Santa Creu i Sant Pau - Pavilions

Hospital Santa Creu i Sant Pau – Pavilions

I’ll finish this introduction with a couple of anecdotes.

During the Spanish Civil War the hospital was taken over by the Republican local government of Barcelona. As in all civil wars things get dirty and the antagonism between the Catholic Fascists of Franco and the atheist Republicans was intense. Church buildings were burnt by the Republicans and Catholic Priests blessed and gave absolution to the Fascists as they murdered those who were fighting in defence of the legitimate government. So it’s no surprise that this had an effect on the hospital.

The religious name was changed from Santa Creu I Sant Pau to the General Hospital of Catalonia. All the pavilions had been given religious names based on Saints and the Virgin Mary (as they are now) and these were replaced by numbers. This was the case until February 9th 1939 when matters reverted to the pre-war condition with the entry of the Fascists into the city of Barcelona.

The young Pablo Picasso was friendly with one of the surgeons of the hospital and for some reason when he went to Sant Pau to meet his friend in 1903 they decided to visit the mortuary. A women that he saw there inspired Picasso to paint La Dona Mort (The dead Woman) which is an example from his ‘Blue Period’.

Although the queues were literally around the block between February 25th and March 16th, 2014 when it was free to enter as a celebration of the completion of a significant part of the restoration the Sant Pau Recinte Modernista (as it is now called) still hasn’t got into the guide books and won’t be attracting the same crowds as other Modernist sites in the city. It’s still possible to get tickets at very short notice so go there soon before it gets swamped. As the plan is to make money from the likes of conferences and exhibitions in the newly renovated space you would be well to check the news section on the website to make sure access is possible when you might want to visit.

Location:

Sant Pau Art Nouveau Site
C. Sant Antoni Maria Claret, 167
08025 Barcelona

Website:

Sant Pau Recinte Modernista

How to get there:

Metro (L5): Sant Pau / Dos de Maig

Visits:

SELF-GUIDED

Cost and Timetable:

General: €8

Over 65, Aged 16-29 and Disabled: €5.60

Under 16: Free

November – March

Monday to Saturday          10.00 – 16.30

Sundays and holidays       10.00 – 14.30

April – October

Monday to Saturday           10.00 – 18.30

Sundays and holidays        10.00 – 14.30

GUIDED

Cost and Timetable:

General: €14

Over 65, Aged 16-29 and Disabled: €9.80

Under 16: Free

November – March

Monday to Saturday        12.00, 13.00, 16.00

Sundays and holidays     12.00, 13.00

April – October

Monday to Saturday         12.00, 13.00, 16.00, 17.00

Sundays and holidays      12.00, 13.00

Closed:

1st and 6th January, 25th and 26th December

Free:

25th January, 12th February, 23rd April, 24th September, first Sunday of the month

Book Online HERE

More on Catalunya/Catalonia