架构师提供的文本描述。这个教区中心位于斗牛士·杜西和弗朗西斯科·阿佐林街道之间的住宅区的一个角落里。延伸侧位于绿色地带的前面，侧面面向住宅建筑。环境的其余部分仍然不发达。在地块的北面和西面，这座建筑位于离边界四米远的地方。在北面，与结构长度相吻合的整个地面被地下室高度上的英式花园占据，以便照明和通风，并提供一个可供公众使用的庭院。

Text description provided by the architects. This parish center is located on a corner plot in a residential area between Historiador Dozy and Francisco Azorín streets. The extended side is situated in front of a green zone and the lateral side faces residential buildings. The rest of the surroundings are still undeveloped. To the north and west of the plot the structure is set back four meters off the boundaries. On the north side, the entire surface which coincides with the length of the structure is occupied by an English style garden at the height of the basement, to allow light and ventilation and give a courtyard that can be accessible by the public.

整个教区被一个单一的棱镜所包围，其特点是拐角处的短立面升起以寻求最大可能的光，融合了历史上独立的三个概念：钟楼、奇异立面和光入口或天窗。棱镜为白色预制混凝土，底部为凹槽，可引入水平光。

The complete parish is enclosed by a single prism with the peculiarity that the short facade on the corner rises to seek the utmost possible light, fusing three concepts that are historically separate, the bell-tower, singular facade and light entrance or skylight. The prism is white prefabricated concrete with a fluted base able to introduce horizontal light.

棱镜由长老会前墙对面的前厅组成，从那里进入寺庙、当地教区地下室和一楼住宅。教堂的入口处可以进入圣礼、合唱、主大厅和圣洁的礼拜堂。

The prism consists of the vestibule on the opposite end of the front wall of the presbytery, from where one enters the temple, the local parish basement and the first floor dwellings. The entrance of the church has access to the sacristy, the chorus, the main hall and the chapel of the Blessed.

内部空间由一片云统一而成，凸起的平面形状被结构所锁住。云在太空中盘旋，直到它消失在天窗的高处。光线在弯曲的平面上褪色，同时滴在老人院的头壁上。这种扩散的光照亮了整个寺庙。在圣殿的教堂里，一朵类似的云彩形成了天花板，就像在大厅里一样，但它却上升了，弯下身来容纳祭坛。构图的统一性就像神圣的建筑所追求的单元一样，允许在圣殿的概念上整合，在里面是一种神圣的艺术。许多艺术家将他们的作品添加到神圣空间的最终形态中。

The interior space is unified by a cloud with a convex plain form locked in by the structure. The cloud circulates around the space until it is lost in the heights of the skylight. The light fades on the curved plane while dripping the headwall of the presbytery. This diffused light illuminates the entire temple. In the chapel of the Blessed a similar cloud forms the ceiling, like in the main hall, but instead it rises and the bends down to accommodate the altar. The unity of the composition like the unit to which sacred architecture aspires allows the integration on the idea of a temple a sacred art inside. Many artists have added their work to the final configuration of the sacred space.

贡献的艺术家是：费尔南多·帕戈拉(Fernando Pagola)-圣坛、安博(Ambo)和圣殿的座位、塞萨尔·巴里奥(Cesar Barrio)-圣洁圣坛、何塞·安东尼奥(Jose Antonio)、维亚克鲁斯(Viacrusis)、哈维尔·马丁内斯(Javier Martinez)让哈维尔·马丁内斯(Javier Martinez)的夫人、哈维尔·玛格利特(Javier Margarit)、圣殿里的基督和圣殿里的基督-都是巴勃

The contributing artists are: Fernando Pagola the altar, ambo and the seat of the temple, Cesar Barrio the altar of the Blessed Sacrament, Jose Antonio the Viacrusis, Javier Martinez made Our Lady of Consolation of Javier Martinez, Javier Margarit both the Christ in the nave and the Christ in chapel of the Blessed are the and the roof paintings are by Pablo and Jaime Ramos.