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圣莫妮卡教区教堂位于里瓦斯-瓦西亚马德里德一块狭长的基地上，周边是新近落成的居住区。教堂是该区域内最先着手设计，却是最后完工的建筑。在设计时，一方面需要最大化地利用基地，另一方面要有一定的方向性。除礼拜堂之外，建筑还需容纳布道、管理办公以及供两位牧师生活的空间。虽然预算有限，建筑师还是完成这座经久耐用的且具有设计感的建筑。

The Church of Santa Monica at Rivas Vaciamadrid is located in a longitudinal plot of a newly established residential area and although the church has been the last work of the area, it was the first to be designed. The church needed to have a longitudinal scheme because it had to occupy the maximum plot and capacity; it also required a directional pattern even if it was not the most liturgically desired. The program besides needing a parish church, it was also considered necessary to have areas for management and catechesis and two housing projects for priests. Evidently the buget was tight but the end product came out to be a long lasting structure.

基地的不利条件反而成为设计主旨的诱因，建筑师将种种限制转化成不可多得的创作机会。

All the early conditions given allowed for the emergence of the main idea and bring forth answers to all questions asked; turning limitations into great opportunities.

▼ 建筑西端的造型，shape of the western end of the building

▼ 建筑东端的造型，shape of the eastern end of the building

建筑的形体沿着基地的边界竖立起来，从北向摄入自然光。凝重的体量感赋予建筑分明的个性和独特性，与其宗教属性相匹配。长条形的教堂空间将天与地、物质与光明以及崇高的上帝凝结为一体，对传统的空间进行了全新演绎。从天窗流泻下来的光线打在祭坛上，赋神像和十字架以形体，但当人用肉眼望去时，过分强烈的光线反而使物体消失了，空间的界限也随之而变得模糊起来。

The shape of the scheme determined the plans performance by allowing the work to be born from the edge, from point zero and along its border ends in an explosion of north-facing skylights. The sonorous piece shows a clear and categorical uniqueness of the building appropriate for the subject of holiness; to meet the light in where its essence is lacked of. As a result the re-interpretation of the history of long altarpieces is now to search ways in which to unite earth and sky, matter and light, the summit of the sacred. The trap formed by the skylights is lights special gift given to matter, so when both come into contact, matter infinitely disappears. In the encounter, the limit, the border is blurred by eliminating matters existence and it becoming too light.

▼ 室内，看向祭坛；interior，view to the altar

▼ 从祭坛看向入口，view from the altar to the entrance

▼ 布道室，catechesis room

存储光的盒子由薄薄的钢片组成，其沧桑的艺术感引发人们关于时间飞逝的感慨。白色的室内墙面同黑色光滑大理石铺就的地面和裙墙分隔开来。强烈的黑白对比充斥着割裂的沉痛感，曝光在破碎而强烈的日光之下。

This box of light is disclosed at the sacrum meeting, which is stored in a flake-cut steel skin so unique that expresses the art worn with the passage of time. The white interior is supported by a horizon line that separates the polished black granite base along the pavement. This evocative contrast allows you to enter all the needs of the facilities in dense black and whiteness, leaving it wounded only by crack of light.

▼ “光之容器”，the box of light

神圣的空间需要神圣的艺术作品来营造气氛，所有的雕塑和家具都是由当代艺术家来设计和打造的，其中包括José Luis Sánchez, Javier Viver, José Manuel Cirino, Fernando Pagola, Javier Martinez and Jose Antonio Ramos等人的作品。

The sacred space desires of sacred art to fill the room, so all the sculptures and liturgical furnishings were designed and created by contemporary artists such as José Luis Sánchez, Javier Viver, José Manuel Cirino, Fernando Pagola, Javier Martinez and Jose Antonio Ramos.

▼ 雕塑和家具，sculptures and furnishings

▼ 图纸，drawings

Authors: Ignacio Vicens y Hualde，José Antonio Ramos Abengózar
Collaborating architects: Fernando Gil，Agustín Toledano，Roberto Rodríguez-Paraja，Jesús Gómez，Desirée González，Pablo Gutiérrez，Romina Barbieri，Tibor Martín，Patricia de Elena，Raúl Rodríguez
Photographer: Pablo Vicens

Drawings: Vicens + Ramos
English Text: Vicens + Ramos
Chinese Text: gooood

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