架构师提供的文本描述。在圣弗朗西斯克修道院教堂的干预，位于加泰罗尼亚镇桑佩多尔，目的是将该建筑改建为文化设施。这两个阶段的实施，使建筑物被用作礼堂和多用途文化空间。预计在未来，第三阶段将允许将教堂(教堂南面)的上层用作历史档案。

Text description provided by the architects. The intervention in the church of the convent of Sant Francesc, located in the Catalan town of Santpedor, was meant to convert the building into a cultural facility. The two phases implemented have allowed the building to be put to use as an auditorium and multipurpose cultural space. It is expected that in the future, a third stage will allow the upper floors of the chapels (on the south side of the church) to be used as a historical archive.

 © Jordi Surroca

乔迪·苏罗卡

圣佛朗哥修道院建筑群是十八世纪由方济各牧师建造的。修道院，包括翻新的教堂，建于1721年至1729年之间。直到1835年，这个建筑群才被用作修道院。2000年，修道院被政府摧毁，当时是一片废墟。只有教堂和修道院的部分围墙仍然屹立不倒，尽管条件很差。

The convent complex of Sant Francesc was built in the eighteenth century by Franciscan priests. The convent, which includes the renovated Church, was built between 1721 and 1729. The complex was used as a convent until 1835. In 2000 the convent, by then in ruins, was demolished by the state. Only the church and part of the perimeter wall of the convent remained standing, although in very poor condition.

 © Jordi Surroca

乔迪·苏罗卡

2003年对教堂进行了翻修。这座建筑从来没有被孤立过，而是整个修道院建筑群不可分割的一部分。事实上，教堂旁小教堂现有的上层是只能从修道院一楼进入的单元，但不能从教堂本身进入。随着修道院的拆除，原来只有两堵墙的教堂继续有四面墙。

The renovation of the church occurred in 2003. The building had never been isolated, but an inextricable part of the whole convent complex. In fact, the existing upper floors of the side chapels of the church were units that could only be accessed from the first floor of the convent, but not from the church itself. With the demolition of the convent, the church, which originally only had two walls, went on to have four.

 © Jordi Surroca

乔迪·苏罗卡

这座教堂由于建筑质量不高而被毁了。值得注意的是，房顶已经下沉，唱诗班消失了，内殿和小教堂的墓穴也部分倒塌了。从外部看，这座教堂只有从历史的角度才是有趣的。然而，教堂的内部显示出-尽管它破旧不堪-卓越的空间品质。由于屋顶的下沉和天花板的崩塌，教堂被大量的自然光的涌入令人惊讶地增强了。教堂内部最初几乎没有收到任何自然光，在光中呈现出一种威严的气氛。

The church, due to its very modest construction quality, was in ruins. It bears noting that the roof had sunk, the choir had disappeared, and the vaults of the nave and chapels had partially fallen. The church, from the outside, was only interesting from a historical perspective. The interior of the church, however, showed - despite its dilapidated state - remarkable spatial qualities. Thanks to the sinking roof and crumbling ceiling, the church was surprisingly enhanced by large inflows of natural light. The interior of the church, which originally received virtually no natural light whatsoever, took on a majestic air in the light.

 © Jordi Surroca

乔迪·苏罗卡

项目干预的前提是保持教堂的规模和空间质量，以及自然光的重要输入。试图在不同的地方保持光的输入，我们提出了不同的解决方案：在山腰北侧有一个巨大的天窗，从内殿里面可以看到钟楼，一个开放的主礼拜堂，以及屋檐开始处的一条切口，以确保光线到达入口墙的内部。

The premise of the project intervention was to maintain the size and spatial quality of the nave of the church as well as the important inputs of natural light. Attempting to maintain light inputs at different points led us to propose different solutions: a large skylight on the north side of the apse, a skylight with views of the belfry from the inside of the nave, an open main chapel, and a cut in the roof right at the beginning of the nave to ensure light would reach the inside of the entrance wall.

 © Jordi Surroca

乔迪·苏罗卡

这座建筑的改造是为了区分新的建筑元素(使用当代建筑系统和语言​​)和这座历史教堂的原始元素而发展起来的。为了保存建筑物所有方面的过去，干预行动没有隐藏痕迹、伤口或伤疤。因此，它们仍然是可见的洼地，曾经是祭坛碎片的洞，缺少元素的痕迹。

The renovation of the building has been developed with the goal of differentiating the new elements constructed (using contemporary construction systems and languages​​) from the original elements of this historical church. With the aim of preserving all aspects of the building's past, the intervention has not hidden traces, wounds or scars. Thus, they have remained visible depressions, holes where the altarpieces once were, traces of missing elements.

 © Jordi Surroca

乔迪·苏罗卡

另一个挑战是保持教堂内的统一和规模，即使有新的数量来满足教会以前从未有的用途和要求：爬到楼上的楼梯、厕所和设备室。为了保持教堂内部的空间感和团结感，这些书的部分位置在建筑外，或者放在教堂内部，以保持统一空间的愿景，无论是在教堂内还是在主礼拜堂。

Another challenge was to maintain the unity and dimension of the nave of the church, even with new volumes for uses and requirements the church had never had before: stairs to climb to the upper floors, toilets, and equipment rooms. To preserve the sense of space and unity inside the church, these volumes have been located, in part, outside the building or have been placed inside in a way which maintains the vision of unified space, in both the nave and the main chapel.

 © Jordi Surroca

乔迪·苏罗卡

这套楼梯和坡道，除了确保通往教堂上层的通道外，还定义了一条贯穿整个建筑的圆形路径，就像博物馆的道路一样。这条循环路线允许你从不同的角度追溯和重新审视整个教堂。

The set of stairs and ramps built, apart from ensuring access to the upper floors of the church, also define a circular path that runs throughout the whole building, much like a museum’s. This circular route allows you to trace back and revisit the church as a whole, from distinct points of view.

建筑和使用的建筑方法试图加强教堂，同时又不删除建筑遭受破坏的迹象。这次干预旨在通过增加新的价值(​​)来保护这座建筑的历史遗产，从而增强它，并赋予这个古老的修道院一种独特的、当代的形式。

The construction and the building methods used have sought to strengthen the church without deleting the signs of deterioration the building has suffered. The intervention has sought to preserve the building's historic legacy by adding new values​​that enhance it and give this ancient convent a unique, contemporary form.