Detail of the project ed. 2020

GUIL­LÉN LLANOS PABLO – CHAPEL FOR THE PON­TIF­I­CAL UNIVERSITY

Design­er PABLO GUIL­LÉN LLANOS
Loca­tion CALLE COM­PAÑÍA 5, 37002-SALA­­MAN­­CA, ESPAÑA
Design Team

JAVIER LÓPEZ DE URIBE, FER­NAN­DO ZAPARAÍN, FER­MÍN ANTUÑA, EDUAR­DO GAR­CÍA, JAVIER MARTÍNEZ (SCUL­TOR), FRAN­CIS­CO OREJU­DO (SACRO PAINTER)
Year 2017
Pho­to credits

Pedro I. Ramos

Pho­to external

Project descrip­tion

Inside one of the sym­bols of Salamanca’s Baroque splen­dor, the head­quar­ters of the Pon­tif­i­cal Uni­ver­si­ty of Sala­man­ca, there is a dai­­ly-use chapel that sup­ports the Church of the Clerecía.
The project starts with the firm deci­sion to car­ry out a dis­creet inter­ven­tion, with cur­rent shades that respect the unique style of the build­ing where it is locat­ed, with­out doing a work that stands out against the real­ly impor­tant of this holy and sacred space.
The idea is very sim­ple. On the inher­it­ed space we place the new chapel, a piece free of nat­ur­al stone that does not touch the orig­i­nal walls of the build­ing, as if with respect, in which all spaces and their needs are carved.
With this stone a strate­gi­cal­ly placed wall is cre­at­ed, which artic­u­lates the entire com­plex and which not only dis­trib­utes the spaces but also col­lects the needs of each one inside — shelves, cab­i­nets, sinks, etc.
With this stone a perime­ter plinth is cre­at­ed that orga­nizes the chapel’s own space, in which the com­mu­ni­ty will be placed in the shape of a horse­shoe, accord­ing to three sides, direct­ed towards a cen­ter where the ele­vat­ed altar is located.
This space is human­ized with sol­id wood ele­ments designed ad hoc in the form of win­dows, doors, bench­es, cab­i­nets and a lat­tice­work that sep­a­rates the sac­risty from the hall where its access door is dis­creet­ly hidden.
The altar, the see and the ambo are treat­ed as exempt ele­ments from the floor: three sup­port­ed stone blocks. The same stone as the rest of the work but with dif­fer­ent finishes.
The archi­tec­ture and the litur­gy con­verge on the altar as the cen­ter of the space and of the litur­gi­cal action, deriv­ing from this cen­tral­i­ty of it the rest of the archi­tec­tur­al and dec­o­ra­tive ele­ments of the ensemble.
The altar­piece is con­ceived in a sceno­graph­ic form, endow­ing the front wall with a rough sur­face treat­ment that acts as a back­drop, and on which the two wood­en carv­ings and the taber­na­cle are placed.

Illus­tra­tive project report
Down­load report

Pho­to internal

Tech­ni­cal drawings

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