殡仪馆项目的委托从选址和管理地块开始，以提高建筑物。该公司是一家地方和区域范围的保险公司，希望在其业务集中的地区用这种设施来加强其客户群：卡塔赫纳北部，在 “La Palma “和 “Pozo Estrecho “镇之间，在卡塔赫纳地区和 “Mar Menor “海周围。这就是一切的开始，也是我学习工作的第一课：没有人希望自己的邻居有一个停尸房。
The commission of the Mortuary project starts with the location and management of a plot to raise the building. The property, an insurances company of local and regional scope, wanted to strengthen its customer base with this kind of facility in the area in which it concentrates his operations: the North of Cartagena, between the towns of ‘La Palma’ and ‘Pozo Estrecho’, in the surroundings of the Field of Cartagena and the ‘Mar Menor’ sea. That was how everything started and how I learned the first lesson of work: nobody wants a mortuary in their neighbourhood.
在多次尝试购买不同地点的可用地块后，我们逐渐地、不可阻挡地离开了最近的、可以到达的地方，我们刚刚在工业园区完成。在那里，我们选择了一个有趣的地块：比例和方向都很好，位置也很有战略意义，面向一般的停车场和工业园区的绿化带，在那里我们几乎无法分辨出小的人造石凳和一些散落的柏树，没有人注意到，但它们为我们增加了土地价值。第二节课是识别和解释位置代码，一个由建筑组成的工业基地，尽管它们有不同的条件和活动规模–生产、展览、储存、商业等–但有一些共同的模式，使整个基地有一个奇怪而复杂的离散的连续性。
After many attempts to purchase available plots at different locations, in a drift that progressively and inexorably leads us away from the nearest and accessible places, we just finished in the industrial park. There, we selected an interesting plot: well proportioned and oriented, and strategically located, open to the general parking area and green zone of the industrial park, in which we could hardly distinguish small artificial stone benches and some scattered cypresses, that no one had noticed, but they add land value to us. The second lesson was to identify and interpret the location codes, an industrial site made of constructions, that despite their different condition and activity scale -production, exhibition, storage, commercial, etc.-, had some common patterns that gave the whole a strange and complex discrete continuity.
我们提前学到了第三条经验，将预算调整到可行的极限。有了这个目标，我们调整了建筑功能方案，使其最小化，从而减少了表面，实现了准确和抽象的建筑。在建筑内部，不同方向的白色和自然光所提供的连续性被连续空间的不同大小和比例以及定义它们的材料的纹理所限定。
We had the third lesson learned in advance, fit the budget to the limit of viability. With this objective, we adjusted the building functional scheme to minimize it, with the consequent surfaces reduction and the achievement of an accurate and abstract construction. Inside the building, the continuity provided by the white colour and natural light in its different orientations is qualified by the different size and proportion of successive spaces and textures of the materials that define them.
设计和建造小教堂的所有家具，不仅仅是一门课程，更是一个双重挑战：除了长椅，还要设计构成礼仪的象征性和功能性元素（十字架、圣餐桌、讲台等）的一系列作品，并使用单一的系统和材料：松木板，在不同的组合中，使我们能够解决和连接房间的所有部分。如何在异国标志的背景下识别远处的建筑是最后一课：我们把标志支撑在外墙的顶部，在天空中把它剪掉，毫无疑问，这是从远处区分它的最好方法。我敢打赌，埃德-鲁沙本人一定会喜欢它……
Designing and constructing all the furniture in the chapel, was more than a lesson a double challenge: to design, in addition to a bench, the set of pieces that form the symbolic and functional elements of the liturgy (the cross, the communion table, the lectern, etc.), and do it with a single system and material: pine wood plank, that in different combinations, allows us to solve an connect all parts of the room. How to recognize the building in the distance against a backdrop of exotic signs was the last lesson: we support the sign on the top of the facade and cut it out against the sky, no doubt this was the best way to distinguish it from a distant point. I bet Ed Ruscha himself would have liked it…
Architects：Martín Lejarraga
Area: 1047 m²
Year: 2013
Photographs：David Frutos
Technical Architect:Manuel Moreno
Structure:Idee. Eduardo Díez
Consultant:José Aº Martínez
Const Manager:Marco Carselle
Builder:Sanimar S.L.
City:Palma de Mallorca
Country:Spain