*성요한 채플 [ beautell arquitectos ] chapel of saint john baptist

신과 만나는 장소; 자신과 자신의 내면과의 만남의 장소, 공간은 한없이 투명해질수록 무더진 감각으로 거친 자국을 공간에 새긴다. 성요한의 고귀한 삶을 투영하는 채플 내부는 경허하고 신성하다. 삼각대지위에 삼각형태의 단순한 건축물 형태는 내외부의 별다름 없이 단순하다. 단순한 공간의 미학은 도로변에 위치한 낮고 넓은 주출입구로 부터 대지의 삼각꼭지점; 제단부로 수렴되는 깊숙한 공간감을 배가 시킨다. 이러한 공간의 흐름을 따라 배석된 40명의 좌석과 공간의 끝단; 제단부 -수평으로 수렴되는 공간의 깊이는 제단부의 수직 천창과 만나며 드라마틱한 시퀀스를 연출시킨다. 어두운 실내에 하늘로 부터 떨어지는 한줄기 태양빛은 공간을 지배한다.- 는 채플이 대지 속에 투영한 3개 포인트; 성스러운 삼위일체, 신(신부), 아들(신도), 성스러운 정신을 직간접적으로 표현한다. 특히 이러한 공간감을 형성시키는 촉감적인 내부 재질은 이 지방의 화산석을 분쇄한 ‘tiroliana’ 와 플라스터의 혼합으로 구체화된다.

reviewed by SJ

the life of saint john baptist was an example of sobriety and austerity – a concept clearly portrayed in the design and construction of his chapel by local practice beautell arquitectos on the island of iron, tenerife, canary islands. with a modest budget, the architects were able to erect a frugal 40-person space used primarily to hold weekly masses constructed with the limited available resources. the triangular lot informed the base footprint of the concrete structure that inhabits the full extent of the site. the form manifests through a powerfully clear prismatic tapered mass that transitions from a low wide entry point to a narrow tall altar at the opposite end; it’s three points also emphasizes the holy trinity, the father, the son, and the holy spirit. in keeping with few materials, the project is made palpable through the various applications of rough plasters, including the use of ‘tiroliana’ made from crushed volcanic stone found on the island. above the altar, an opening created through a fold in the roof plan allows natural light to reflect across the angled walls exposing the dramatic earth-toned textures of the interior.

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location: el hierro island, tenerife, canary islands, spain.
architect: alejandro beautell
client: tenerife bishopric.
team: jorge díaz | arch., eloy fernández | quantity surveyor, efraín pintos | photographer
constructor: construcciones expósito
year built: june 2013
budget: 54.000 €
covered area: 77,15 m²

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.’

‘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.’

‘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.’

‘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.’

from  designboom