架构师提供的文本描述。黑暗的，逝去的东西，其碎片

Text description provided by the architects. dark, inmemorial things whose fragments

留在艺术家的灵魂里“

remain lodged in the soul of the artist"

再一次，我们可以想象原始的、手工制作的和构造性的东西，而不让我们怀旧，仅仅是对挥霍、轻浮和噪音的无声抵抗。圣地亚哥以北70公里处是安第斯谷，这是智利中部最美丽、最肥沃的地区之一。

Once again we can visualize what is primitive, hand-crafted and tectonic, without making us nostalgic, merely as a silent resistance to squander, frivolity and noise. Seventy kilometers to the north of Santiago lies the Valley of the Andes, one of the most beautiful and fertile areas in the Center of Chile.

 © Sergio Pirrone

c.塞尔吉奥·皮尔龙

在那里，特蕾莎·德·洛斯安德斯的庇护所就坐落在奥科的卡梅利特修道院旁边。卡米洛山脚下的卡皮拉德尔雷蒂罗就是在这里和山脚下建造的，就在游客可以入住的客房隔壁。朝圣者来到这里，充满了对超越的渴望，并寻求沉默和回忆。

There, the Sanctuary of Teresa de los Andes is located, sprawled next to the Carmelite Monastery of Auco. It is here and at the foot of Mount Carmelo that the Capilla del Retiro was built, next door to the guest house where visitors can stay. It is visited by pilgrims, full of a desire for transcendence and in search of silence and recollection.

 © Sergio Pirrone

c.塞尔吉奥·皮尔龙

礼拜堂的兴起是对它周围特殊地理位置的确认，同时也尊重一系列先前存在的建筑所建立的轴线。混凝土是建筑物结构的主要材料。它的体积，严格经济，从一个交叉的4梁的形状，支持最小的结构元素，使它与地面的关系是轻微的，但充分。这里的形状和结构是一种不溶性的合成。

The chapel rises as a confirmation of the extraordinary geography that surrounds it, while respecting the axes established by the series of preexisting buildings. Concrete is the main material of the building’s structure. Its volume, strictly economical, rises up from a crosspiece of 4 beams in the shape of a cross that is supported with the least possible structural elements so that its relationship with the ground is slight but sufficient. Shape and structure here are an indissoluble synthesis.

 section 01

section 01

在严格的混凝土几何条件下，挖掘出了一个天井，它的土石墙在教堂周围冒着危险地升起，压缩和扩展了那片光线的空间。作为与地理环境的抗衡，室内设计成了从旧铁路线回收的木箱形状。这个盒子挂在混凝土结构下，在支撑它的横梁下2米处，限制了外面空旷的视野。

Under the strict geometry of the concrete a patio was excavated, whose rustic stone wall rises hazardously up and around the chapel, compressing and expanding that space of light. As a counterpoint to the magnitude of the geographic surroundings, the interior was designed in the shape of a wooden box recycled from old railway lines. This box hangs from the concrete structure and lies 2 meters under the beams that support it, limiting the view of the emptiness outside.

 © Sergio Pirrone

c.塞尔吉奥·皮尔龙

整个这一段，似乎悬浮在地面上，指的是我们内在的灵性维度。这一空间是从较低的部分照明，留下一个空间来观察一个失重的身体在内部隐藏其支持的合理性，而外部为我们提供了石墙周围的庭院。上面的光线受到限制，以便在盒子里保持一定的半光，这是由于木材的深色而增加的。在这里，理性的外在/形而上学内部的二元性，是哥特式建筑的典型，呈现出对现代性承诺的新表现。

The whole of this piece, which appears to levitate over the ground, refers us to the spiritual dimension inside. This space is illuminated from the lower part, leaving a space to view a weightless body in the interior that hides the rationality of its supports, whilst the exterior affords us a view of the stone wall that surrounds the patio. The upper light has been restricted so as to maintain a certain half-light in the box, which is heightened by the dark color of the wood. Here, the duality of the rational exterior / metaphysical interior, so typical of Gothic architecture, assumes a new expression of a commitment to modernity.

 © Sergio Pirrone

c.塞尔吉奥·皮尔龙