架构师提供的文本描述。在利马的里马克区，它是60年代由最神圣的救世主的阿古斯蒂纳的女儿们组成的教会建造的。随着时间的推移，天气和恶劣维修的应用降低了它们的结构状态，加速了它们的恶化。经过彻底的分析，它被批准进行一个新的覆盖设计和其结构的加固，其方式是增加现有教会的价值。

Text description provided by the architects. In the district of Rímac in Lima, it was erected in the decade of the 60s by the Congregation of Religious Agustinas Daughters of the Most Holy Savior. The passage of time, the weather and the application of poor maintenance diminished the state of their structures, accelerating their deterioration. After a thorough analysis, it was approved to carry out a new coverage design and the reinforcement of its structures, in such a way that value is added to the existing church.

 © Ana Paola Fiorini

(Ana Paola Fiorini)

在新的覆盖设计中，考虑了四个非常重要的问题：最适合规划的建筑体系、船舶提供的室内空间高度和大小、祭坛作为主要关注点，最后是新立面和与环境的交互作用。

For the new design of the coverage four very important points were considered: the Constructive System that best suits the planned, the Height of the Interior Space to provide and size the ship, the Altar as the main point of attention and finally the New Facade and the Interaction with the Environment.

综上所述，由于钢的延展性、抗力和执行时间的优化，决定以钢为主要材料。

Considering all the aforementioned, it was decided to use steel as the predominant material due to its malleability, resistance and optimization in execution times.

 © Ana Paola Fiorini

(Ana Paola Fiorini)

使用尖顶拱门可以覆盖大灯并达到适当的高度，为使用者提供所需的舒适。

The use of pointed arches allowed to cover large lights and achieve the appropriate height, providing the desired comfort to the user.

为了使祭坛成为围场内的主要关注点，圣灵的象征“La Paloma”被采纳为概念形象。通过三个不同高度的平面的叠加，可以象征性地代表一只有张开翅膀的鸽子，它位于祭坛的上部，可以从船上的任何地方欣赏到，象征着圣灵在任何时刻的存在和陪伴。

In order to make the altar the main point of attention within the enclosure, "La Paloma", symbol of the Holy Spirit, was adopted as a conceptual image. By means of the superposition of three planes at different heights it was possible to symbolically represent a dove with open wings, located in the upper part of the altar can be appreciated from any place of the ship, denoting the presence and company of the Holy Spirit in all moment.

 © Ana Paola Fiorini

(Ana Paola Fiorini)

为了把门面和周围环境结合起来，在这种情况下，把面向街道的公园整合起来，有人建议把​​祭坛的想法象征性地转移到街道上，为了实现这一点，在正面和屋顶之间竖起了玻璃板，创造了一个独立的元素，模拟一座祭坛，在那里放置着我们的慰藉女神的形象，由著名雕塑家路易斯·索诺·卡夫雷拉用钢制成。

To integrate the façade with the surroundings, in this case integrate the park that faces the street, it was proposed to transfer the idea of ​​Altar to the street figuratively, and to achieve it, glass panels were raised between the facade and the roof, creating an independent element that simulates an altar, where the image of Our Lady of Consolation was placed, made in steel by the renowned sculptor Luis Sono Cabrera.

这种新的空间配置在内部和外部之间创建了一个强大的链接，产生了与用户的新交互，邀请他进入并留在内部。

This new spatial configuration created a strong link between the inside and the outside, generating a new interaction with the user, inviting him to enter and remain inside.

 © Ana Paola Fiorini

(Ana Paola Fiorini)

在不违反和完全忘记背景和现有场景的情况下，有可能创造一个独特而醒目的空间环境，由宽敞的环境、白色的墙壁、透明的光线构成，而自然光则被巧妙地放置在遥远的地方-它们表示存在着重要的东西。轻盈，和平，舒适和宗教身份，是在这个精神空间中聚集在一起的。

Without violating and completely forgetting the context and the existing scene, it was possible to create a unique and striking space environment, composed of a spacious environment, white walls, transparencies that let natural light sinuously, artificial lights strategically located that views of far they denote the presence of something important. Lightness, peace, comfort and religious identity, is what comes together in this spiritual space.