Ramos Alderete受托为Francisco de Vitoria大学新教堂的忏悔礼堂和洗礼礼堂创作装饰艺术。

这两个礼堂呈半圆形，向中殿敞开，位于教堂入口，正对祭坛画，且彼此对称。

所提出的艺术作品必须与礼堂的象征意义以及新建教堂所营造的氛围相契合。

Ramos Alderete was commissioned to create the decorative art for the Chapels of Penance and Baptism in the new church of the Francisco de Vitoria University. The chapels, semicircular and open to the nave, are located at the entrance to the church, opposite the altarpiece, and are symmetrical. The proposed artwork had to be consistent with the symbolism of the chapels and the atmosphere suggested by the newly built church.

项目的出发点是现有的教堂空间及其塑造理念。

这引导我们做出了一系列战略选择，这些选择利用了塑造教堂其余空间的相同元素：

祭坛画上的现有金箔，或教堂建筑选择中所主导的个别与集体、特殊与普遍的理念。

The starting point is the existing church space and the ideas that have shaped it. This leads to a series of strategic choices that work with the same elements that have shaped the rest of the space: the existing gold leaf on the altarpiece, or the idea of the particular and the collective, the singular and the universal that dominates the architectural choices of the church.

现有教堂的圣礼场所覆盖着带有明显划分痕迹的金箔。

此外，教堂的色彩搭配也十分明确。

因此，第一个决定便是按照教堂其余空间的风格，用金箔覆盖这两个礼堂。

与现有的祭坛画或圣体礼拜堂不同，这两个新礼堂采用了更加封闭的圆形几何设计，使得金箔能够相互反射，营造出一种更加私密、昏暗且引人深思的氛围。

The sacramental places of the existing church are covered in gold leaf with the visible quartering. In addition, the colour palette of the church is well defined. The first decision was therefore to cover the chapels with gold leaf, in keeping with the rest of the space. Unlike the existing altarpiece or the Blessed Sacrament chapel, the new chapels have a more closed circular geometry, so that the gold leaf reflects on itself, giving it a more intimate, darker, introspective tone.

礼堂位于教堂入口和祭坛前方，与祭坛画建立了直接的联系。

每个礼堂，就像它所代表的圣礼一样，都有其独特的色彩层次，这是通过在金箔上直接绘制一系列线条或笔触来实现的，线条或笔触的颜色根据圣礼的不同而呈现蓝色或紫色。

The position of the chapels, at the entrance and in front of the altar, establishes a direct relationship with the altarpiece. Each chapel, like the sacrament it represents, has its own particular nuance, created by a series of lines or strokes painted directly on the gold leaf, differentiated by the colour blue or violet, depending on the sacrament.

这些线条，在洗礼中是恩典之雨，在忏悔中是紫色的泪滴，表现为一系列重复的垂直笔触，赋予共同的金色背景以特色。

笔触的动作或手法使每条线都独具特色，并为背景增添了微妙的动态。

线条的尺度与手部动作的尺度相一致。

这种在金箔上作画的手法，产生了一种与弗朗西斯科·德·维多利亚大学（UFV）教堂理念相呼应的振动：

即个人与集体、普世教会与特定教会之间的关系。

理想情况下，每一笔都可以由一个人来完成。

These lines, the rain of grace in Baptism, the purple tears in Penance, are presented as a repetition of vertical strokes that give character to the common gold background. The gesture or the hand makes each line special and fills the background with subtle action. The scale of the line is the scale of the stroke of the hand. This operation, painting on gold leaf, gives rise to a vibration that works with the same idea of the UFV chapel: the personal and the communal, the universal Church and the particular Churches. Ideally, each stroke could be made by one person.

雨或泪的意象与其在教堂中的位置——即圣殿入口——相吻合：

这些圣礼是进入准备状态的必要条件。

因此，恩典之雨以各种形式降临在我们每个人身上，为我们与圣餐的相遇做好准备。

线条在垂直轴上自由延伸，但一切都始于并终于严格的秩序之中。

The idea of rain or tears is consistent with its position in the church, at the entrance to the temple: Sacraments necessary to enter into readiness. Thus the rain of grace, in each of its forms and on each of us, prepares us for the Eucharistic encounter. The line is free in its vertical axis, but everything begins and ends in a strict order.

这产生了运动和振动，就像一阵风吹过线条，但始终保持在更高的五角星形构图内，同时指向圣殿的一般祈愿：

“智慧之座”。

绘画的密度和透明度以及色调的微妙变化创造了一个随光线和位置变化的空间，让我们始终能够谈论那些超脱之物，那些无法捕捉的超验想法。

This gives rise to movements and vibrations, like a wind that sweeps the lines, but always in a higher pentagram, which at the same time refers to the general invocation of the Temple, Seat of Wisdom. The density and transparency of the paintings and the subtle variations in tone create a space that changes according to the light and the position, always allowing us to speak of something that escapes, of transcendent ideas that cannot be captured.

展览名称 |

Mural Abstraction in the University Church of the UFV

展览时间 |

2024年9月

展览地点 |

Spain

展览摄影 |

Amores Pictures

创始人 / Pablo Ramos Alderete

2011年，Pablo Ramos Alderete以荣誉学位毕业于马德里高等理工建筑学院（ETSAM UPM），成为一名建筑师，并随后获得该校的高级建筑项目硕士学位。同年，他荣获Alejandro de la Sota奖项。在学术领域，他曾于2011年至2012年间在ETSAM，以及2014年至2016年间在MPAA，担任项目课程的教学工作。自2013年起，他一直担任弗朗西斯科·维多利亚大学的建筑项目教授职务。作为一位活跃的学者，他参与了多个国际研讨会，并在多所欧洲知名大学举办讲座。此外，他还被马德里高等理工学院授予荣誉博士学位。

In 2011, Pablo Ramos Alderete graduated with honors from the Escuela Técnica Superior de Arquitectura de Madrid (ETSAM UPM) and became an architect, subsequently earning a Masters degree in Advanced Architectural Projects from the same institution. In the same year, he was awarded the Alejandro de la Sota Prize. Academically, he taught project courses at ETSAM between 2011 and 2012 and at MPAA between 2014 and 2016. Since 2013, he has served as a professor of architectural projects at the Universidad Francisco de Victoria. As an active scholar, he has participated in numerous international seminars and delivered lectures at several prestigious European universities. Additionally, he has been awarded an Honorary Doctorate by the Escuela Técnica Superior de Ingenieros de Madrid.