Det­ta­glio del pro­get­to ed. 2024

the-holy-redee­­mer-church-of-las-chu­m­­be­­ras / Spain

Fer­nan­do MENIS

Pro­get­ti­sta Fer­nan­do Menis
Loca­tion Vol­can Estrom­bo­li, 3, 38108, La Lagu­na, San­ta Cruz de Tene­ri­fe, Spain
Nazio­ne Spain
Desi­gn Team

Babak Asa­di, Juan Ber­ce­do, María Ber­ga, Rober­to Del­ga­do, Javier Espí­lez, Andrés Fer­rer, Niels Hein­rich, Yani­ra León, Joan­na Mako­w­ska Czer­ska, Pau­la Man­za­no, Nata­lia Pyzio, Raúl Rive­ra, Gerar­do Rodrí­guez, Esther Senís, Andreas Weih­na­cht, Julia Zasada

Anno 2020
Cre­di­ti Fotografici

Exte­rior > Pho­tos 1, 2, 3, 5: ©Roland Hal­be and Pho­to 4: ©Patri Campora
Inte­rior > Pho­to 1, 4: ©Simo­na Rota; Pho­tos 2, 3, 5: ©Hisao Suzuki

Foto ester­ni

Descri­zio­ne del progetto

“The Church of the Holy Redee­mer of Las Chum­be­ras is dedi­ca­ted to the Resur­rec­tion, a fun­da­men­tal moment in the histo­ry of Chri­stia­ni­ty, which inspi­res the deci­sions of the pro­ject and its mate­ria­li­ty. Lar­ge volu­mes made of con­cre­te, toge­ther with light, sha­pe the enti­re buil­ding: the church as the fir­st epi­so­de of the Via Lucis, the cave in which Jesus was buried. It is an auste­re spa­ce, without super­fluous ele­men­ts, much like the life He led and the pla­ce whe­re He resur­rec­ted.” (Fer­nan­do Menis, architect)

> Com­mu­ni­ty Matters
Its con­struc­tion took over 15 years, coin­ci­ding with the tran­sfor­ma­tion of Las Chum­be­ras that is a 1970s social­ly vul­ne­ra­ble nei­gh­bo­rhood made up apart­men­ts blocks, shop­ping cen­ters and indu­strial buil­dings. The Church was envi­sio­ned as a cata­ly­st for urban and social chan­ge and the new buil­ding aimed to crea­te a pla­ce whe­re the­re was none, giving the nei­gh­bo­rhood its own iden­ti­ty and ser­ving as a refe­ren­ce spa­ce in a con­fu­sing urban fabric. The com­pound inclu­des a Church, a Parish Cen­ter, and a public squa­re sur­roun­ded by gree­ne­ry, pro­vi­ding a much-nee­­ded public mee­ting place.

The pro­ject is a testa­ment to col­lec­ti­ve action, finan­ced throu­gh dona­tions from the con­gre­ga­tion and local orga­ni­za­tions. The une­ven flow of dona­tions deter­mi­ned the con­struc­tion logic and exe­cu­tion, resul­ting in four inde­pen­dent modu­les deli­ve­red in pha­ses. The Parish Cen­ter, hou­sed in two of the four volu­mes, was com­ple­ted in 2008 and has been in use sin­ce, whi­le funds for the rest of the pro­ject were being raised.

> Low-tech inno­va­tion with con­cre­te and stone
Inspi­red by the vol­ca­nic islan­d’s geo­lo­gy, the buil­ding is embed­ded in the ground and rises with four mas­si­ve volu­mes resem­bling lar­ge rocks. The rou­gh tex­tu­re of the expo­sed con­cre­te con­trasts shar­ply with the con­ven­tio­nal resi­den­tial con­text. It’s as if a geo­lo­gi­cal phe­no­me­non had occur­red, with natu­re chal­len­ging bana­li­ty. The petrous volu­mes are sepa­ra­ted by nar­row cracks fil­led with sculp­tu­ral metal and glass struc­tu­res, allo­wing day­light to enter and crea­te an auste­re, stark com­pound that relin­qui­shes all super­fluous elements.

Day­light plays an essen­tial role, fil­te­ring throu­gh cuts to sha­pe a free-flo­­wing, intro­ver­ted void and stres­sing each Chri­stian sacra­ment. At sun­ri­se, light enters throu­gh the cross, sym­bo­li­zing the entran­ce to Jesus’s burial cave and illu­mi­na­ting the bap­ti­smal font. The altar, con­fir­ma­tion, and com­mu­nion recei­ve light at noon throu­gh the sky­light, whi­le a shaft of light later falls on the con­fes­sio­nal. Sky­lights stra­te­gi­cal­ly illu­mi­na­te unc­tion, matri­mo­ny, and priesthood.

Con­cre­te, the main mate­rial, ser­ves mul­ti­ple roles: exte­rior, inte­rior, struc­tu­re, form, mat­ter, and tex­tu­re: (1) It’s local­ly acces­si­ble; (2) Con­cre­te’s ener­gy effi­cien­cy, due to its iso­tro­pic natu­re, is enhan­ced here by the ther­mal iner­tia of the thick mas­si­ve walls; (3) The acou­stic poten­tial of con­cre­te is explo­red here in an inno­va­ti­ve way, chal­len­ging the belief that it is infe­rior to mate­rials like wood. For dif­fu­sion, con­ven­tio­nal expo­sed con­cre­te is used, whi­le for absorp­tion, expo­sed con­cre­te mixed with local vol­ca­nic sto­ne (picón) is chip­ped. The resul­ting acou­stics are able to adapt to song, choir, and speech.

Rela­zio­ne illu­stra­ti­va del progetto
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Foto inter­ni

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