架构师提供的文本描述。它被要求起草一个项目，为一座建筑的目的是天主教崇拜，在一种类型的教堂或隐士奉献给圣约翰浸信会。根据财产的要求，这座寺庙允许容纳40人，并要求每周在那里举行一次礼拜仪式。由于目前的经济短缺，要求建造一座能够优化现有有限资源的建筑物。

Text description provided by the architects. It is requested to draft a project for a building destined for the Catholic worship, in the type of a chapel or an hermitage dedicated to Saint John the Baptist. The temple, according to the requirements of the property, allows a capacity of 40 people and requires a liturgical celebration to be held there weekly. Due to the current economic shortage, there is requested a building which will optimize the available limited resources.

 © Efraín Pintos

(Efraín Pintos)

建议的建筑适应于地块的形状，通过这种调整，可以得到几何上不均匀的三角形或长方形三角形。因此，小礼拜堂被投影成一个三角形形状的单一体积的平面图，从三角形尖角的另一边进入。这样，空间在计划中缩小，并开始增加的高度，因为我们接近祭坛(从拉丁语，阿尔塔雷来自阿尔图斯“上升”)，这构成了庙宇的主要元素。

The proposed building adapts to the shape of the plot and as a result of this adaptation a geometrically uneven or scalene triangle is obtained. Therefore, the chapel is projected in a plan view as a single volume in a triangular shape, with an access from the opposite side of the acute angle of the triangle. This way, the space narrows in the plan and starts to increase in the height, as we approach the altar (from Latin, altare comes from altus "rise"), which constitutes the main element of the temple.

 © Efraín Pintos

(Efraín Pintos)

在入口处，有一个洗礼字体，周围是银行，准备庆祝这个圣礼。这个空间也将接待在人口更多的庆祝活动中站着的人们。此外，还有一个聚集点，由四个从福音墙出来的整体银行组成。该下划线上升在一个两步的平台，是自然的和横向的照明由一个缺口是由书信墙偏移的结果。在这面墙中，正在设计一个十字通道，在混凝土中有14个十字交叉。在下议院的轴线上，在主宰者的位置上，祭坛可以与位于其左侧的安博一起在较低的水平上找到。帐幕的最末端是可用的，与祭坛对准，并设置成一个裂缝，形成一个十字雕刻在混凝土上，上升寻找垂直。此时，有一个重要的开销光输入来描述空间。

At the entrance, there is situated a baptismal font, surrounded by banks, prepared for the celebration of this sacrament. This space will also host people that will be standing during the more populous celebrations. Further, there is located the assembly, composed of four monolithic banks that emerge from the Gospel wall. The chancel rises on a two-step platform and is naturally and laterally lit by a gap being a result of the Epistle wall offset. In this mentioned wall, a Cross Via, coumpound of 14 crosses recessed in the concrete, is being designed. On the axis of the chancel, and in dominant position, the altar can be found together with an ambo, situated on its left, on a lower level. The tabernacle is available at the very end, aligned with the altar and set into a crack, that forming a cross carved in the concrete, rises looking for the vertical. At this point there is a significant overhead light input that describes the space.

 © Efraín Pintos

(Efraín Pintos)

从材料上看，建筑具有简约性、材料简单性和自然采光等资源利用的特点，为建筑提供了理想的苦行僧。在此之后，与“蒂罗里亚纳”(由岛上碎石成岩制成)的粗糙灰泥相比，混凝土加上它们上的光的相互作用，构成了该项目的物质方面。因此，规定在殿的地板上使用光滑的混凝土，用骨料混凝土作为拱顶的体积，用粒状的外露混凝土作为祭坛或祭坛的背景，以及书信的墙壁；在形成十字的部分上，颗粒混凝土将更轻。这扇门是由钢结构制成的，它隐藏在同一材料的薄板下，前面有大的钢手柄十字形，内部有可回收的木板。

Considering the materials, the construction presents an austerity, the simplicity of the used materials and the use of resources such as natural lighting, provide the building with the desirable ascetic caracter. Following this above, the concrete, in contrast to the rough plaster finishes to “tiroliana” (made of crushed volcanic stones from the island), together with the interaction of light on them, constitute the material aspect of the project. And so then, it is prescribed to use smoothed concrete for the floor of the nave, aggregate concrete for the volume of the chancel, and granulated exposed concrete for the background of the altar or the altarpiece and the wall of the Epistle; the granulated concrete will be lighter on parts that form the cross. The door it is made of steel structure hidden under sheets of the same material, with large steel handles cruciforms infront, and recycled wood panels inside.

 © Efraín Pintos

(Efraín Pintos)

三角形或三角是由三个顶点定义的多边形，在基督教传统中，它象征着三位一体的神秘-三个人中的一个神。每个顶点都是三角形的一部分，代表着神本身的奥秘：父亲、儿子和圣灵。所以这个三角形变成了这个项目的一个主题。祭坛放置在三角形的最尖角，其平分线构成庙宇的主轴。这个轴心将覆盖基督徒生命的各个阶段，从洗礼开始，然后成为集会的一部分，并在天堂宴会的交融中结束。因此，洗礼字体，祭坛，帐幕和十字架是一致的，作为生活线的隐喻。

The triangle or trine is a polygon defined by three vertices that in the Christian tradition symbolizes the Mystery of the Holy Trinity - one God in three persons. Each of the vertices is part of the triangle, representing the mystery of God itself: Father, Son and Holy Spirit. So the triangle becomes a leitmotiv of the project. The altar is placed in the most acute angle of the triangle and its bisector constitutes the main axis of the temple. This axis will cover the various stages of the life of a Christian, beginning with baptism, then becoming a part of the assembly and finishing in the communion of the heavenly banquet. Therefore, the baptismal font, the altar, the tabernacle and the cross are aligned, as a metaphor of the line of life.

 © Efraín Pintos

(Efraín Pintos)

圣约翰浸信会的生活，教堂的守护神，是一个冷静和节俭的例子。约翰被描绘成一个苦行僧，耶稣用那些“在皇家宫殿里”和“穿漂亮衣服”的人来反驳他。施洗约翰的风格应该敦促所有基督徒选择戒酒作为一种生活方式。就像约翰把自己定义为“沙漠中呼喊的声音”一样，以他的名字命名的礼拜堂也将抗议过去的过度行为，并将成为一股新潮流的前兆，证明一种新的宗教艺术是可能的。

The life of Saint John Baptist, patron saint of the chapel, was an example of sobriety and austerity. John is portrayed as an ascetic figure, Jesus countered him with those who "are in royal palaces" and "wear fine clothes." The style of John the Baptist should urge all Christians to choose sobriety as a way of life. The same way as John defined himself as "the voice crying out in the desert", the chapel, that will bear his name, will also protest against the excesses of the past and will be the precursor of a new stream, testimony that a new religious art is possible.

 © Efraín Pintos

(Efraín Pintos)

紧缩不仅是一种道德信念，也是一种必要。我们使用我们在…岛找到的材料我们没有金子，但我们有灯，我们没有大理石，但我们有价值的混凝土，没有石膏丝，但是灰泥给我们服务，你不会找到水晶吊灯，但是，当夜幕降临时，我们同样会点亮灯泡。

Austerity was not just a moral conviction, it was a necessity. We use the materials we found in the island… we had no gold, but we had the light, we had no marble, but we worth concrete, there is not plaster filigrees, but plaster of tiroliano serves us, you will not find crystal chandeliers, but, when night falls, we will light up the bulbs likewise.