Nuestra Señora de Candelaria in Alcalá Church/ Alejandro Beautell

由专筑网小R编译

由于安全因素，古老的Alcalá教堂在2011年被拆除，而Alcalá社区的居民们则希望能够重建原有的庙宇，这代表了圣母的祈祷，然而因为多方因素，这个项目得以停滞，到目前为止，圣母像仍然是当地人虔诚与传统的象征，同时也是城市议会崇敬的场所。

Text description provided by the architects. For years, since the closure for security reasons of the old Alcalá Church -finally demolished in 2011-, the residents of the Alcalá neighborhood have tried to favor the reconstruction of the lost temple which was under the invocation of the Virgin of Candelaria. This construction, for various reasons, has been frustrated, and, to the date, the image of the Virgin, a symbol of great devotion and tradition among the locals, was in a place that the City Council gave for worship.



近几年，Candelaria教区、Tenerife教区、Canary群岛政府，以及Guía de Isora城市议会为了呼应这个社会需求，联合促成了全新Alcalá神庙的修建，新教堂位于一个没有建筑参照的地区，因此建筑也需要唤起人们的消失的记忆，从而成为区域的全新地标，也是Alcalá的新核心。建筑总面积为1100平方米，共有两层，半地下室包含了服务空间，即多功能教区用房、车库、仓库、设备用房，以及卫生间，上部楼层则是能够从广场直接进入的教堂和圣器室。

In recent years, the Parish of Candelaria, the Bishopric of Tenerife, the Government of the Canary Islands, and the City Council of Guía de Isora, in order to respond to this social demand, have joined forces to make a new temple for Alcalá. In an area without architectural references, the new church had to recover the memory of the disappeared hermitage, and constitute an architectural landmark in the neighborhood, a new center for Alcalá. The building has a total constructed area of ​​1,100 m2 spread over two levels. The semi-basement floor includes the servant spaces: parish rooms for multiple uses, garage, warehouse, facilities rooms, and toilets. Above the rooms, with access from the square, are the Church and the sacristy.









就形式而言，这是一座神圣的建筑，全新的Alcalá教堂存在于圣母的祈祷之中，似乎也在向人们诉说了这一传统，诉说着古老建筑的记忆，建筑孤独地矗立在大地上。

Formal aspects. The architecture of the Sacred. The new Church of Alcalá, under the invocation of the Virgin of Candelaria, tells us about the tradition, about the recovery of the memory of that old construction that stood alone on the badlands of lava that underlies, even today, under the asphalt.



从这些区域开始，全新的神庙划分为两个不同的正厅，即“旧正厅”和“新正厅”，单个内部空间从外侧变成了两个不同的体量，其中之一恢复了旧场地的形状和位置，重新全是了岛上的传统建筑，恢复场所记忆，缓解由于老建筑的拆除而带来的失落感，建筑墙体为全新建造，构成了同样的空间，似乎将曾经的生活全部浓缩于其中，圣母的形象回到了原来的位置上，这个古老躯体的头部保存在一个洞穴之中，这让人们能够回忆起原有的形象。

Starting from these premises, the new temple is formalized in two different naves, "the old one" and "the new one". A single interior space becomes into two different volumes from the outside. One of them recovers the shape and position of the old hermitage in a reinterpretation of the traditional architecture of the islands as an attempt to recover its memory and attenuate the feeling of loss that its demolition caused. The walls are new, but the air they enclose is the same and condenses all the moments lived in that place. The image of the Virgin returns to its pristine position, occupying the same place as in yesteryear, at the head of the ancient body, this time protected in a cave that recalls its appearance to the Guanches (aborigines of the Canary Islands).



另一个体量就如同蜡烛上的火焰，似乎在寻求一种垂直的感受，给内部空间带来更大的表现力，从而构成了能够照亮教堂的天窗，也连接了旧正厅，这似乎在象征着传统与现代之间的桥梁。

The other volume, like a flame -the fire of the candle-, seeks the verticality bringing greater representation to the interior space which culminates in a skylight that illuminates the presbytery and connects both naves, the old and the new one, symbolizing that there is a bridge between tradition and modernity.









体量的增加来源于当地传统建筑的类型学，它由正厅和露台连接而成，将建筑拆分为不同体量的策略也很好地应对了城市条件，这样能够与周边的道路相对齐。

The addition of volumes comes from the typology of vernacular religious architecture, growing by naves with a patio attached. The strategy of decomposing the building into differentiated volumes has also been used in response to the rigid urban conditions that forced it to align the building with the perimeter road.



就材料而言，建筑非常简约，材料的简约性和自然采光等资源给空间带来了追求本质的意境，这也激发了人们对于古老场所的回忆，它们通过混凝土建造而成，应用场地现有的自然石材，建筑的完成面为传统的石灰，其中的白色与新体量中的其他颜色构成对比，而新体量中也应用了混凝土，空间中的色彩以不同的程度唤起人们的记忆。

Regarding materials, the construction is very austerity, the simplicity of the materials used and the use of resources such as natural lighting give the space an ascetic character that seeks the essential. The volume that recalls the old hermitage is executed in cyclopean concrete with the recovery of the natural stone existing on the site. The chiseled finish of this body is finished, in the traditional way, with lime. The white of the lime contrasts with the other color used in the new volume, which is also built-in concrete, this time mass-stained and bush-hammered with different intensities.

























建筑设计：Alejandro Beautell
类型：教堂
面积：11840平方英尺（约1100平方米）
时间：2020年
摄影：Flavio Dorta
总承包商：Construcciones Rodríguez Mesa.
客户：Obispado de Tenerife
工程造价：Eloy Fernández
城市：Alcalá
国家：西班牙

CHURCHES
ALCALá, SPAIN
Architects: Alejandro Beautell
Area: 11840 ft2
Year: 2020
Photographs: Flavio Dorta
Main Contractor: Construcciones Rodríguez Mesa.
Clients: Obispado de Tenerife
Quantity Surveyor: Eloy Fernández
City: Alcalá
Country: Spain