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                  <text>1
Conde de Asalto
One of the main geographical features in El Barrio Chino is the Conde de Asalto. The Conde de
Asalto is like a man-made river with constant foot traffic that connects the Rambles with the
Parallel. The ‘river’ grants access to many of the houses, businesses, and clinics throughout El
Barrio (Zarzoso and Pardo-Tomás 2016: 171).
The presence of clinics along this river increased as the concept of social medicine
became more popular. Social medicine is the commitment of physicians to provide necessary
medical attention to deprived urban areas. The Conde de Asalto and El Barrio Chino lack
sanitation regulations and public healthcare necessary for preventing illnesses and diseases. “The
search for […] better hygienic conditions prompted some enterprising Barcelona surgeons” to
transform the Conde de Asalto through the installation of clinics (Zarzoso and Martínez-Vidal
2016: 76). The clinics are necessary for providing adequate treatment to the natives of these
areas (Zarzoso and Pardo-Tomás 2016: 160). In addition to clinics, the prevalence of museos
anatómicos, or anatomical museums, increased. Professionals who practice social medicine use
museos anatómicos to educate the public on medical science, disease prevention, possible
treatments, etc. However, the museos anatómicos received negative views due to their explicit
nature (Zarzoso and Pardo-Tomás 2016: 173-77).
Also explicit in nature, prostitution and brothels are very popular and in high demand in
the Conde de Asalto. Many of the establishments along the Conde de Asalto cater to the needs of
prostitutes, such as rubber ware and bathing establishments, abortion clinics, and photographic
studios, and granted access to brothels. The purpose of rubber ware and bathing establishments is
to purchase condoms and to cleanse genitalia, respectively. Overall, there is a range of

�2
businesses along the Conde de Asalto that slowly transforms from respectable to perverse as you
travel from one end to another (Zarzoso and Pardo-Tomás 2016: 171-72).

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Camille Kresz</text>
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Camille Kresz</text>
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