架构师提供的文本描述。建立圣地的项目是从双重角度着手的。一方面描述空间，使其充分表达其神圣的状态，另一方面对礼拜仪式特有的一系列功能要求作出答复。反过来，它们又被赋予了一种巨大的象征意义。

Text description provided by the architects. The project for a holy place is approached from a double viewpoint. On the one hand to characterise the space so that it expresses adequately its condition as holy, and on the other to give an answer to a series of functional demands peculiar to the liturgy. In their turn these are endowed with a great air of symbolic meanings.

 © Juan Carlos Quindós

(Juan Carlos Quindós)

为此目的，我们相信我们自己的当代语言形式已经在以前的项目中得到探索(西曼卡斯的圣约翰保罗二世教堂或瓦拉多利德的阿尔卡扎伦学院教堂)。这也适用于空间的使用、规模、光的使用和特征、空间的雕塑处理、体积以及与庙宇语言和特点相一致的统一图示方案的协调。

For that purpose we have trusted in our own forms of contemporary language which have already been explored in previous projects (the church of St.John Paul II in Simancas or the chapel of Alcazaren College, both in Valladolid). This was also applied to the use of space, the scale, the use and characterisation of light, the sculptural treatment of the space, the volume, and the coordination of a united iconographical programme in agreement with the language and characteristics of the temple.

 © Juan Carlos Quindós

(Juan Carlos Quindós)

我们已决定建造一座有一定体积的建筑物，为方案的每一项内容提供答案。其中包括钟楼和其内部的一个墓穴，一个连续的基座围绕着周边的界限，这是教区中心及其通道的所在地，最后，对于寺庙来说，一个立方体的体积从一条玻璃中显现出来。

We have decided on a building with defined volumes which provide an answer to each and every element of the programme. These consist of the bell tower and a columbarium in its interior, a continuous base skirting the limits of the perimeter, which houses the parish centre with its accesses, and lastly, for the temple, a cubic volume which emerges from an a strip of glass.

 © Juan Carlos Quindós

(Juan Carlos Quindós)

表面处理仅用一种材料就解决了。这是GRC(玻璃钢筋混凝土)的沟槽，碎片的大尺寸和水平调制组织的水平。我们努力在城市居住环境中提高建筑物的公共特性。光孔已按全球体积进行了刻度处理，并将其与使用深色玻璃统一起来，并已挖掘，以形成通道，并有较小规模的照明空间。

The treatment of the exterior was resolved by covering it with just one material. This was GRC (Glass Reinforced Concrete) with a grooved finish, with fragments of a large size and horizontal modulation organised in levels. We have tried to enhance the public character of the building in the urban residential surroundings. The apertures for light have been treated with a scale according to the global volume, unifying them with the use of darkened glass.The volumes have been excavated so as to form the accesses and have lighting spaces available on a lesser scale.

 Ground Floor Plan

 Longitudinal Section 1

纵向第1节

教堂的中心区域是从一个正方形的建筑面积设计出来的，该面积位于教堂后面，供日常使用。入口是从内殿的脚下，在唱诗班下面，这样空间和祭坛就可以逐渐显露出来。有一个连续的灰色大理石基础，保持同一水平周围的地区。在这个紧邻的地方，举行与礼拜仪式有关的仪式。

The central area of the church has been designed from a square floor area which backs on to the chapel for daily use. Access is from the foot of the nave, beneath the choir so that the space  and the altarpiece can be gradually revealed. There is a continuous base of grey marble which maintains the same level round the area. In this close area the ceremonies associated with the liturgy occur.

基层与长老院的地形联系在一起，并作出贡献，使信徒们可以利用由合唱团的水平平面加强的规模的密切参考。同时，它还建立了一个水平平面，其中包括由祭坛和圣所主持的最具象征意义的空间、白色的垂直墙壁、引入光线的水平裂缝，以及刻有十字的蓝色天花板的平面。

The base ties in to the topography of the presbytery and contributes so that the faithful have at their disposal a close reference of scale reinforced by the horizontal plane of the choir. At the same time it establishes a horizontal plane from which extends the space encompassing the most symbolic presided over by the altarpiece and the sanctuary, the white vertical walls, the horizontal crevice through which the light is introduced, and the plane of the blue ceiling with an engraved cross.

 © Juan Carlos Quindós

(Juan Carlos Quindós)

祭坛是雕塑家哈维尔·马丁内斯的作品。从一开始就决定这座祭坛是风景优美的。整个祭坛的正面都被视为一堵厚重的雕刻墙，里面有一个平台，里面有中央场景的发展，圣殿的壁龛和壁龛，还有教堂的名字圣徒的画像。

The altarpiece is the work of the sculptor Javier Martinez. From the beginning it was decided that the altarpiece would be scenic. All the front of the altarpiece has been treated in unison as a carved wall of great thickness, which houses the platform in which the central scene is developed, the niche for the sanctuary and the alcove with the painting of the titular saint of the church.

 © Juan Carlos Quindós

(Juan Carlos Quindós)

所寻找的是所使用的不同元素之间的形式和文本对比。这些是黑色光滑的大理石在底部，大块粗石灰石在“预德拉”，一个白色的平面，框架的祭坛片和镀金纹理的背景。

What have been looked for are the formal and textual contrasts between the different elements used. These are, dark smooth marble on the base, large pieces of coarse limestone in the “predella”, a white plane which frames the altarpiece and the gilded texture of the background.

 © Juan Carlos Quindós

(Juan Carlos Quindós)

Architects VZ Arquitectos

Location Calle Luis Rodríguez Arango, 7, Burgos, Spain

Category Community Center

Author Architects Enrique Villar Pagola, Rodrigo Zaparaín Hernández

Area 3033.0 sqm