架构师提供的文本描述。œil(法语，意为“欺骗眼睛”)是一种试图通过建筑周围环境、透视、阴影和其他光学幻象欺骗眼睛的技术，创造“强化的现实”或“现实的替代”。

Text description provided by the architects. A trompe-l'œil (French for «deceive the eye») is by definition a technique which tries to deceive the eye by means of the architectural surrounding environment, the perspective, the shading, and other optical illusions, creating an “intensified reality” or a “substitution of the reality”.

 © David Frutos

(C)戴维·弗鲁托斯

宗教将复杂的情况转化为两极分化，并将其置于地狱和天堂的对立面，这是两个对立的目的。我们的目的是使简单的事情变得困难，把清醒的东西变成创新的东西。在这个工程中，混凝土只能是面对的，它将其传统的承载功能委托给了真正的结构骨架-钢。

Religion translates complex situations, polarizing and placing them opposite in hell and heaven, two antagonistic ends. Our purpose was to make difficult what was simple, and to turn what was sober into something innovative. Concrete in this project is nothing but facing and it delegates its traditional carrying function to steel, the truly structural skeleton.

用石头做的东西是失重的。因此，混凝土在某种程度上会受到引力，而玻璃这种传统的失重材料具有承载功能。什么是物理的，什么是构造的，以钢筋混凝土为代表，似乎站在两个玻璃水平图形之间，连接着建筑的内部和外部。漆板文件夹指示入口，并指明通往祭坛的道路。又一次，它看起来像是在飞越地面。石材几乎是开发商的要求。

What is made with stone materials is weightless. Therefore, concrete somehow gravitates whereas glass, traditionally a weightless material has a carrying function. What is physical, what is tectonic, represented by reinforced concrete, seems to stand up between two glass horizontal figures which connect the internal and the external sides of the construction. The lacquered sheet folder indicates the entrance and shows the way to the altar. Once again, it looks as if it was overflying the ground. The stone material was almost a requirement of the developer.

 © David Frutos

(C)戴维·弗鲁托斯

创新之处在于石材承载功能的丧失。另一方面，混凝土的使用符合我们使用持久和清醒的材料的目的，这将产生永久的对话。这个想法是在当代的背景下重新解释它们。在祭坛上，基督被天窗照亮。

The innovation consists in the loss of the carrying function of the stone material. On the other hand, the use of concrete was in line with our purpose of using lasting and sober materials, which would generate a perpetual dialogue. The idea was to reinterpret them in a contemporary context. In the altar, Christ is illuminated with a skylight.

这座由费尔南多·桑兹·德·艾洛里亚加(Fernando Sáenz de Elorriaga)精心设计的铁雕塑，经过模拟基督指甲血的氧化处理，似乎浮在水面上在内部，蓝宝石控制光线，以较高的比例保持钢筋混凝土的颜色。石灰岩覆盖了壁龛和墓穴的正面。楼板保持天花板混凝土模块元素，以加强连续性的印象。

The iron sculpture, elaborated by Fernando Sáenz de Elorriaga, and treated with an oxidation that simulates Christ nail’s blood, appears to be floating. In the interior, the alabaster controls the light keeping the colours of the reinforced concrete with a higher arid proportion. The limestone covers the front of niches and columbaria. The floor maintains the ceiling concrete modular elements to reinforce the impression of continuity.

 © David Frutos

(C)戴维·弗鲁托斯

我们的祖先曾经建造大教堂，直起天空来提升我们的祈祷。在这种情况下，物质的同质性使我们达到了巨大的规模，使我们认为可能有比我们更大的东西超越我们，就像悬浮的重物质的魔力一样。

Our ancestors used to build cathedrals which straightened to the sky to uplift our prayers. The material homogeneity is in this case what sends us to the monumental scale, what makes us think that there might be something bigger than ourselves which transcends us, just like the magic of the heavy material which levitates.

 © David Frutos

(C)戴维·弗鲁托斯