架构师提供的文本描述。在十九世纪的最后几十年里，多亏了科米拉勋爵，这个小镇成为了早期加泰罗尼亚现代主义的中心。神学院以耶稣会士和工程师米格尔·德·阿尔科拉多的素描开始，后来，琼·马托雷尔和卢伊斯·多梅内奇·蒙塔纳开始在这个项目中工作，使建筑具有不朽和理想的风格。

Text description provided by the architects. In the last decades of the nineteenth century, thanks to the Comillas Lord, the town became a hub of the incipient Catalan Modernism. The seminary began with some sketches of Jesuit and Engineer Miguel de Alcolado, later on Joan Martorell and Lluis Domenech i Montaner started to work in the project giving the building the monumental and desired style.

 © Duccio Malagamba

c Duccio Malagamba

这座建筑有一个学术性的规划，有两个有功能的房间，一个中央的身体有很大的制度空间。在90年代被抛弃后，它的状况非常糟糕。最显着的建筑空间，大厅，主大厅和教堂正面进行了最少的改动，尽管由于时间和缺乏使用，它们呈现出明显的退化。其余的空间遭受了多次干预，这超过了表面上的清晰性，而后者承诺了封闭的建筑类型。当时由于极具试验性的建筑所引起的疾病需要迅速采取行动。该项目建议在建筑物的两个不同区域采取两种互补的干预措施。

The building has an academic style plan, with two cloisters with functional rooms and a central body with significant institutional spaces. After its abandonment in the 90s, it was in a terrible condition. The most remarkable architectural spaces, the lobby, the main hall and the church facades had minimal alterations, although they presented a significant deterioration due to time and lack of use. The rest of the spaces had suffered multiple interventions that trumped the apparent clarity that promises cloistered architectural type. The diseases caused by an extremely experimental construction at the time demanded swift action. The project proposes two complementary intervention degrees in two different areas of the building.

 © Duccio Malagamba

c Duccio Malagamba

该项目在建筑的两个不同区域提出了两个互补的干预度，一方面，维护和保护位于中央主体的大部分艺术空间，并进行广泛的翻新，以恢复其原有的辉煌。干预措施以旨在限定和收回空间的小的具体行动加以充实。我们打开洞口，寻找建筑物各部分之间的渗透性，教会获得更大的正式自主权。我们设计了新的墙壁和地板，这些墙壁和地板自然地与现代主义元素混合在一起，我们在礼堂的门厅里重新创造了一个神奇的空间。

The project proposes two complementary intervention degrees in two different areas of the building. On one hand, the maintenance and conservation of most artistic spaces, located in the central body, with extensive renovation to restore its original splendor. The intervention is enriched with small specific actions intended to qualify and reclaim the spaces. We open holes looking for permeability between parts of the building, the church gets greater formal autonomy. We design new walls and floors which naturally mixed with the modernist elements and we recreate a magical space in the mansard on the auditorium.

 © Duccio Malagamba

c Duccio Malagamba

另一方面，它提出了一个更密集的改造在修道院，试图改变它的压迫性质。我们认为，这里没有必要保持同样的努力，我们决定更自由地运作，引进新的程序和技术，视需要。我们拆除了大部分建筑物，并在真空中建造。剩下的砖墙获得了它所有的表现力。我们用一堵新墙解决了大部分工程技术方面的问题，沿袭了旧的和过时的中间墙的痕迹。

On the other hand, it raises a more intensive rehabilitation in the cloisters, trying to transform its oppressive character. We consider there is no need here to keep the same effort restorer we decide to operate more freely, introducing new programs and technologies as required. We demolish most of the building and built in vacuum. The brick walls remaining acquire all its expressiveness. We solve most of the project technical aspects with a new wall, following the traces of the old and obsolete intermediate one.

 Ground Floor Plan

新墙通过洞口的系统顺序，将视觉和功能厅与修道院之间的关系联系起来。墙由两个画布组成，其中白色的混凝土板是支撑的，他们也支撑恢复原来的正面。墙的部分组织了干预，允许它的空心内部，呼吸和运行所有的设施。一个光滑的墙，作为一个“灰泥”混凝土反射光和对比标记砌体结构的原始墙。墙壁折叠在顶楼上，形成了一个巨大的天篷。在那里，我们创建了一个玻璃周边画廊，增强了这层楼房间的功能，通过拆除曼沙德楼板，将阁楼改造成了意想不到的天窗。不同的楼层是根据新墙以及核心和服务的位置安排的，它们都精确地布置在塔楼上，形成了灵活的空间，可以分配给多种用途。新的空间由教堂补充，教堂应该成为大厅。

The new wall articulates the relationship between visual and functional halls and cloisters, through the systematic order of their holes. The wall consists of two canvases where white concrete slabs are supported and they also brace the restored original facades. The wall section organized the intervention and allows for its hollow interior, breathe and run all the installations. A smooth wall, as a "stucco" concrete reflects light and contrasts with the marked masonry texture of the original walls. The wall is folded on the top floor creating a large canopy. There, we create a glazed perimeter gallery that enhances the functionality of the rooms of this floor, qualified by the demolitions of the mansard slab, converting the attics in unexpected skylights. The different floors were arranged according to the new wall and the position of the cores and services, which are arranged precisely at the towers, generating flexible spaces that can be allocated to multiple uses. The new spaces are complemented by the church, 

 © Duccio Malagamba

c Duccio Malagamba

新的用途需要很大的空间来安装服务。这座新建筑出现在旧足球场下，利用地势，在一个与研讨会一样长的街区里。在修复中央身体和正面时，值得注意的是不同的结构干预、手工玻璃修复、绘画、铜像、抹灰…。和新材料的出现，原位水磨石，胡桃基板，卡米拉瓷砖.在壁橱里，石板和墙的混凝土引起了人们的注意，这与粉刷的历史工厂形成了鲜明的对比。我们用道格拉斯松木做路面，我们用钢筋砌体的深梁解决屋顶，在第一阶段，修复了东部的修道院和中央的主体。我们希望能继续进行工程，以收回这座重要的建筑物。

New uses require a large space for service installations. This new building appears under the old football pitch, taking advantage of the topography, in a long block with the same length as the Seminar. In the rehabilitation of the central body and the facades, it is worth remark the different structural interventions, artisanal glass restorations, paintings, bronzes, plasters ... and the emergence of new materials in situ terrazzo, walnut baseboards, Cumella tiles ... In the cloisters, the concrete of the slabs and the wall gain all the attention, contrasting with the whitewashed historic factory. Pavements are made of Douglas pine and we solve the roof with deep beams of reinforced masonry. In the first phase, it has been rehabilitated the eastern cloister and the central body. We hope that we can continue the works to recover this important building.