要求起草一个项目，建造一座供天主教礼拜用的教堂或隐修所类型的建筑物，供施洗者圣约翰使用。根据财产的要求，该寺庙可容纳40人，并要求每周在那里举行礼仪庆典。由于目前的经济短缺，需要一个能优化现有有限资源的建筑。

It is requested to draft a project for a building destined for the Catholic worship, in the type of a chapel or an hermitage dedicated to Saint John the Baptist. The temple, according to the requirements of the property, allows a capacity of 40 people and requires a liturgical celebration to be held there weekly. Due to the current economic shortage, there is requested a building which will optimize the available limited resources.

拟建的建筑根据地块的形状进行调整，调整后的结果是得到一个几何上不均匀的三角形。因此，教堂在平面图上被投影成一个三角形的单一体量，从三角形锐角的另一侧进入。这样一来，空间在平面上变窄，当我们接近祭坛（来自拉丁文，altare来自altus “上升”）时，高度开始增加，祭坛构成了寺庙的主要元素。

The proposed building adapts to the shape of the plot and as a result of this adaptation a geometrically uneven or scalene triangle is obtained. Therefore, the chapel is projected in a plan view as a single volume in a triangular shape, with an access from the opposite side of the acute angle of the triangle. This way, the space narrows in the plan and starts to increase in the height, as we approach the altar (from Latin, altare comes from altus “rise”), which constitutes the main element of the temple.

在入口处，坐落着一个洗礼池，周围是银行，为庆祝这一圣礼而准备的。这个空间也将容纳人们，将站在更多的人口庆祝活动。此外，这里还有一个由四块石碑组成的集会厅，从福音墙中出现。礼拜堂在一个两级平台上上升，由于书信墙的偏移，自然而然地从侧面照亮了一个缺口。在这面墙中，设计了一个十字架通道，由14个凹陷在混凝土中的十字架组成。在教堂的轴线上，在主导位置，可以发现祭坛和安博一起，位于它的左边，在一个较低的水平。祭坛在最末端，与祭坛对齐，并设置成一个裂缝，形成一个十字雕刻在混凝土中，上升寻找垂直。在这一点上，有一个显著的顶光输入，描述了空间。

At the entrance, there is situated a baptismal font, surrounded by banks, prepared for the celebration of this sacrament. This space will also host people that will be standing during the more populous celebrations. Further, there is located the assembly, composed of four monolithic banks that emerge from the Gospel wall. The chancel rises on a two-step platform and is naturally and laterally lit by a gap being a result of the Epistle wall offset. In this mentioned wall, a Cross Via, coumpound of 14 crosses recessed in the concrete, is being designed. On the axis of the chancel, and in dominant position, the altar can be found together with an ambo, situated on its left, on a lower level. The tabernacle is available at the very end, aligned with the altar and set into a crack, that forming a cross carved in the concrete, rises looking for the vertical. At this point there is a significant overhead light input that describes the space.

考虑到材料，建筑呈现出一种紧缩性，所用材料的简单性和资源的使用，如自然照明，为建筑提供了理想的禁欲性格。混凝土，与粗糙的石膏饰面 “tiroliana”（由来自岛上的碎火山石制成）形成对比，加上他们的光的互动，构成了项目的材料方面。因此，然后，它被规定使用平滑的混凝土的殿堂地板，骨料混凝土的教堂的体积，和颗粒暴露混凝土的祭坛或祭坛画和书信的墙壁的背景;颗粒混凝土将在形成十字架的部分更轻。门它是由隐藏在相同材料的板材下的钢结构制成的，大的钢把手十字形在前面，里面是回收的木板。

Considering the materials, the construction presents an austerity, the simplicity of the used materials and the use of resources such as natural lighting, provide the building with the desirable ascetic caracter. Following this above, the concrete, in contrast to the rough plaster finishes to “tiroliana” (made of crushed volcanic stones from the island), together with the interaction of light on them, constitute the material aspect of the project. And so then, it is prescribed to use smoothed concrete for the floor of the nave, aggregate concrete for the volume of the chancel, and granulated exposed concrete for the background of the altar or the altarpiece and the wall of the Epistle; the granulated concrete will be lighter on parts that form the cross. The door it is made of steel structure hidden under sheets of the same material, with large steel handles cruciforms infront, and recycled wood panels inside.

三角形或三线形是由三个顶点定义的多边形，在基督教传统中象征着神圣三位一体的神秘–三位一体的上帝。每一个顶点都是三角形的一部分，代表着上帝本身的奥秘。圣父、圣子和圣灵。因此，三角形成为项目的主旨。祭坛被放置在三角形最锐角的位置，其二分线构成了圣殿的主轴。这条轴线将涵盖基督徒生命的各个阶段，从洗礼开始，然后成为聚会的一部分，最后在天国宴会的圣餐中结束。因此，洗礼池、祭坛、会幕和十字架是对齐的，作为生命线的隐喻。

The triangle or trine is a polygon defined by three vertices that in the Christian tradition symbolizes the Mystery of the Holy Trinity – one God in three persons. Each of the vertices is part of the triangle, representing the mystery of God itself: Father, Son and Holy Spirit. So the triangle becomes a leitmotiv of the project. The altar is placed in the most acute angle of the triangle and its bisector constitutes the main axis of the temple. This axis will cover the various stages of the life of a Christian, beginning with baptism, then becoming a part of the assembly and finishing in the communion of the heavenly banquet. Therefore, the baptismal font, the altar, the tabernacle and the cross are aligned, as a metaphor of the line of life.

洗礼堂的守护神圣约翰施洗者的一生是清醒和节制的典范。约翰被描绘成一个苦行僧的形象，耶稣用那些 “身处王宫”、”身着华服 “的人来反驳他。施洗约翰的风格应该督促所有的基督徒选择清醒作为一种生活方式。正如约翰将自己定义为 “在沙漠中呼喊的声音 “一样，以他的名字命名的礼拜堂也将抗议过去的过激行为，并将成为一股新流的先驱，见证新的宗教艺术是可能的。

The life of Saint John Baptist, patron saint of the chapel, was an example of sobriety and austerity. John is portrayed as an ascetic figure, Jesus countered him with those who “are in royal palaces” and “wear fine clothes.” The style of John the Baptist should urge all Christians to choose sobriety as a way of life. The same way as John defined himself as “the voice crying out in the desert”, the chapel, that will bear his name, will also protest against the excesses of the past and will be the precursor of a new stream, testimony that a new religious art is possible.

紧缩不仅是一种道德信念，更是一种必然。我们使用我们在岛上找到的材料……我们没有黄金，但我们有光，我们没有大理石，但我们有价值的混凝土，没有石膏花丝，但tiroliano的石膏为我们服务，你不会找到水晶吊灯，但是，当夜幕降临，我们同样会点亮灯泡。

Austerity was not just a moral conviction, it was a necessity. We use the materials we found in the island… we had no gold, but we had the light, we had no marble, but we worth concrete, there is not plaster filigrees, but plaster of tiroliano serves us, you will not find crystal chandeliers, but, when night falls, we will light up the bulbs likewise.

建筑师：Alejandro Beautell
占地面积：77 m²
年份：2013年
摄影：Efraín Pintos
城市: TENERIFE
国家：西班牙
Architects: Alejandro Beautell
Area: 77 m²
Year: 2013
Photographs: Efraín Pintos
City: TENERIFE
Country: Spain