天使长圣米迦勒教堂改造项目丨西班牙丨Alejandro Beautell

位于特内里费岛圣克里斯托瓦尔-德拉拉古纳的赫内托圣米迦勒教堂改造项目，源自一项双重命题：一方面，对一座18世纪隐修小教堂进行严谨而克制的修复；另一方面，通过新增一座教堂中殿，使其能够回应当代礼仪需求，同时不削弱整体的历史身份。

The intervention at the Church of San Miguel de Geneto, in San Cristóbal de La Laguna (Tenerife), is based on a dual commission: the rigorous restoration of an 18th-century hermitage and its extension through a new nave capable of responding to contemporary liturgical needs without compromising the historical identity of the ensemble.

▼鸟瞰，aerial view© Flavio Dorta

▼顶视图，top view© Flavio Dorta

原有的小教堂建于18世纪初，沿旧日通往坎德拉里亚的道路而设，其建筑形态质朴而克制，与农业生产周期以及对当地居民和旅人的精神关怀密切相关。平面呈矩形，屋顶采用典型的穆德哈尔式 par y nudillo 木构体系，是加那利群岛乡村宗教建筑的重要范例。此次介入对这一历史体量进行了完整修复，遵循最小干预原则，以传统工艺重现木质藻井屋顶，同时清除20世纪以来扭曲其类型学解读的附加构筑，包括曾被封闭的入口前庭。

▼轴测图，axonometric drawing© Alejandro Beautell

The original hermitage, built at the beginning of the 18th century along the former Candelaria road, embodies an austere and functional architecture closely linked to agricultural cycles and to the spiritual care of local inhabitants and travellers. Rectangular in plan and covered by a Mudéjar timber roof structure of par y nudillo, it represents a significant example of rural religious architecture in the Canary Islands. The intervention has fully restored this historic volume, recovering its timber coffered ceiling using traditional techniques and criteria of minimal intervention, while removing 20th-century additions that had distorted its typological reading, including the enclosure of the former entrance courtyard.

▼沿街视角，street view© Flavio Dorta

▼沿街视角，street view© Flavio Dorta

▼钟楼，tower bell© Flavio Dorta

▼入口，entrance© Flavio Dorta

▼大门细部，detail of the gate© Flavio Dorta

▼庭院，courtyard© Flavio Dorta

新增部分被构想为一个具有明确自主性的体量，与历史建筑清晰区分。二者之间引入了一道回廊式的过渡空间，作为尊重与缓冲的媒介，使新旧并置而不相互混淆。这一中间带不仅承担功能角色，更是一道“时间的门槛”，强调不同建筑层次的独特性，避免任何形式上的模仿。

The extension is conceived as an autonomous body, clearly differentiated from the historic building. Between the two, a deambulatory is introduced as a space of transition and respect, allowing old and new to coexist without confusion. This intermediate strip is not only functional, but also acts as a temporal threshold, underlining the specific condition of each architectural layer and avoiding any formal mimicry.

▼入口庭院，front yard© Flavio Dorta

▼白色体量，white volume of the project© Flavio Dorta

▼细部，details© Flavio Dorta

▼细部，details© Flavio Dorta

新体量以连续的白色外壳完成，对历史中殿进行简化与再诠释，而非复制。其尺度与高度有意保持谦逊，从属于原有小教堂，避免任何喧宾夺主的姿态。建筑的中性表达使其与历史肌理形成一种宁静的共存关系——不是对比，而是一种跨越时间的延续。室内，一处大型天窗将自然光直接引入祭坛上方，使“光”成为主导空间的核心要素，并塑造教堂的整体体验。

The new volume is resolved through a continuous white envelope that simplifies and reinterprets the historic nave without reproducing it. Its scale and height remain deliberately subordinate to the hermitage, avoiding any gesture of protagonism. The neutrality of its architecture enables a serene coexistence with the historic fabric, understood not as contrast but as continuity over time. Inside, a large skylight introduces natural light directly over the presbytery, making light the primary spatial agent and the element that articulates the experience of the church.

▼大型天窗将自然光直接引入祭坛上方，

a large skylight introduces natural light directly over the presbytery © Flavio Dorta

项目中最具意义的举动，源于施工过程中的一次冲突。一道为抵御道路交通而建的钢筋混凝土围墙，因行政争议被拆除。建筑师并未抹去这段物质记忆，而是将墙体切割成块，重新用于塑造祭坛、读经台与洗礼池；墙中原有的钢筋亦被回收，用以制作祭坛背后的十字架。破碎而残存的材料因此获得了圣礼性的身份，占据了礼仪的中心位置。

One of the most significant gestures of the project emerged from a conflict during construction. A reinforced concrete wall, built to protect the courtyard from road traffic, was demolished following an administrative controversy. Rather than discarding its material memory, the wall was cut into sections and reused to form the altar, the ambo and the baptismal font. The reinforcing steel contained within the wall was also recovered and used to construct the cross of the reredos. The material, broken and fragmented, thus acquires a sacramental condition, occupying the centre of the liturgy.

▼钢筋混凝土围墙，reinforced concrete wall © Flavio Dorta

▼十字架细部，details of the cross© Flavio Dorta

这一行为并非旨在进行明确的叙事或象征，而是一次纯粹的建构与材料回应。建筑接纳冲突，将伤痕纳入自身，并转化为一种恒久的存在。混凝土不再是匿名的建材，而成为被时间穿越、被重新赋义的凝缩记忆。白昼之中，建筑所做的仅仅是让光进入——无需更多。重要的，是保持一种专注与倾听。

This gesture is not intended to be narrative or symbolic in an explicit sense, but strictly constructive and material. The architecture accepts the conflict, incorporates the wound and transforms it into permanence. Concrete ceases to be an anonymous material and becomes condensed memory, matter traversed by time and re-signified through use. During the day, the architecture limits itself to allowing light to enter. Nothing more needs to be added. It is enough to remain attentive.

▼修复后的室内部分，the renovated part© Flavio Dorta

▼修复后的木质屋顶，the renovated wooden ceiling© Flavio Dorta

材料

Materiality

新体量的建构语言刻意保持节制。中殿采用砌块墙体结构，内外覆以连续喷涂的软木层，这一生态型、超薄的构造体系既回应了空间尺度的限制，也满足了热工与声学需求。其略显粗粝的表面微妙地调制着光的振动，同时营造出适合言语回响的声学环境，进一步强化了空间的礼仪属性。

The new volume is built through a deliberately restrained material approach. The nave is resolved with block masonry walls, clad both internally and externally with a continuous layer of projected cork, an ecological system of minimal thickness that responds to the spatial constraints of the project as well as to thermal and acoustic requirements. Its rough texture subtly modulates the vibration of light and contributes to an acoustic environment suitable for the spoken word, reinforcing the liturgical character of the space.

▼新建体量中殿，the nave of the new volume part© Flavio Dorta

▼祭坛与读经台，the altar and the ambo© Flavio Dorta

▼忏悔室，theconfessionary© Flavio Dorta

座席 Seating

长椅被视为建筑不可分割的一部分而进行设计。每一个座位都配有独立的靠背，这一自主的构件承认个体的独特性与内在尊严。它们并非组成一条连续长椅，也不是模糊个体的集体姿态，而是多重“在场”的叠加——人们在保持自身状态的同时，共同构成一个整体。木质座椅安放在玄武岩石基之上，这种传统、厚重而稳定的材料如同根基一般存在。视觉上的轻盈由一种古老而密实的物质所承托，在人之脆弱与恒久之物的沉默重量之间，建立起清晰而深刻的关系。

The benches were conceived as an integral part of the architecture. Each seat incorporates an individual backrest, an autonomous element that acknowledges the singularity of each person and their inherent dignity. Rather than forming a continuous bench or an undifferentiated collective gesture, they constitute a sum of presences: individuals who, without losing their own condition, participate in a single body. These timber elements rest on basalt stone bases - traditional, heavy and stable - acting as a foundation. The visual lightness of the benches is thus supported by a dense and ancestral material, establishing a clear relationship between the human and the permanent, between the fragility of the seated body and the silent weight of what sustains it.

▼坐席，seating© Flavio Dorta

▼木质座椅安放在玄武岩石基之上，the wooden seats are placed on the basalt rock foundation © Flavio Dorta

▼洗礼台，the baptismal font© Flavio Dorta

▼总平面图，master plan© Alejandro Beautell

▼平面图，plan© Alejandro Beautell

▼立面图，elevations© Alejandro Beautell

▼剖面图，sections© Alejandro Beautell

Architect: Alejandro Beautell

Client: Diocese of Tenerife

Contractor: Construcciones Víctor Rodríguez e Hijos

Consultants: Hildebrando Díaz – quantity surveyor

IGS Ingenieros – electrical and lighting engineering

Photography: Flavio Dorta

Location: Geneto, San Cristóbal de La Laguna, Tenerife, Canary Islands, Spain

Year: 2025

Built area: 233 m2