© Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

架构师提供的文本描述。礼拜堂的修复是为了一种新的类型-一个多用途的活动空间-从正式的婚礼到瑜伽静修所的圆润氛围。

Text description provided by the architects. The chapel rehabilitation is for a new typology --a multi-purpose space for events—ranging from a formal wedding to the mellow ambiance of a yoga retreat.

重建工作涉及解决自1969年被遗弃以来原有结构所遭受的复杂病理。

The reconstruction involved resolving the complex pathologies suffered by the original structure since being abandoned in 1969.

AdamBresnick架构师研究并恢复了现有的体系结构，并插入了新的用途。指导干预的哲学是尊重时间的流逝。从外表看，石面被重新定位，传统的瓷砖屋檐被修复，石模留下了磨损的缺陷，包括原来伤痕累累的塞利安入口。在内部有三个不同的区域。

Adam Bresnick architects studied and restored the existing architecture as well as inserting new uses. The philosophy guiding the intervention was to respect time’s passing. From the exterior the stone facades were repointed, traditional tile eaves restored and stone moldings left with their worn faults, including the original scarred Serlian entrance. In the interior 3 distinct areas are articulated.

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

整修过的穹顶，恢复了原来的空间，入口处是考古遗迹和新建筑的组合，悬挑在空间上，最小程度地触及原始空间。曾经覆盖这个空间的倒塌拱顶被一个新拱形的松木吊顶所召回。在原始墙壁裸露的砖石上凿出的石膏模也标志着原始拱顶的形状。

The refurbished dome where the original space is restored, the entrance into the nave is a mix of archaeological remains and new construction cantilevered over the space, minimally touching the original.The fallen vaults that once covered this space are recalled by a new vaulted ceiling of pine slats. Plaster moldings cutout over the bare masonry of the original wall also mark the shapes of the original vaults.

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

最后三分之一占据了旧的唱诗班区，所有现代用途，从电梯允许残疾人进入各级，到洗手间，厨房，工作人员和存储区。这个四层楼高的结构被插在石墙里，楼梯上的天窗突出了它与原始容器的概念分离。

The last third occupying the old choir area houses all modern uses, from the elevator allowing for handicapped access to all levels, to restrooms, kitchen, staff and storage areas. This 4-story structure is inserted within the stone walls, a skylight in the stair accentuating its conceptual separation from the original container.

 © Eugeni Pons

欧根尼·彭斯(Eugeni Pons)

所用的材料与原作相同：米色大理石主地板，灰泥造型上的白色油漆，天花板上的松木板条，以及将漂浮在殿内的现代唱诗班包围起来。在西班牙农村地区创造历史空间的新用途和新的就业机会是对欧洲文化的杰出贡献。这一举措的创新得到了FADETA(Federación de Asociaciones para el Desarrollo属地del Tajo-Taju a)的承认，这是一个地方方案，是欧洲联盟Feader(农村发展基金会)方案的一部分。建筑费用总额为852，000欧元，由私人出资。尽管如此，这项干预措施的质量及其新颖性已被FADETA授予20万欧元的补贴。

The materials used are the same as the original; beige marble main floor, white paint on the plaster moldings, pine slats on the ceiling and to enclose the modern choir that floats within the volume of the nave. The creation of new uses for historical spaces, and new employment possibilities in the context of rural Spain is an outstanding contribution to European culture. The innovation of the initiative has been recognized by the FADETA (Federación de Asociaciones para el Desarrollo Territorial del Tajo-Tajuña), a local program forming part of European Union FEADER (Fonds Européen Agricole pour le Développement Rural) program. The total construction cost is 852,000€, and is privately funded. Nevertheless the quality of the intervention and its novelty has been awarded a subsidy of 200,000€ by FADETA.

 Axonometric