Text description provided by the architects. In the district of Rímac in Lima, it was erected in the decade of the 60s by the Congregation of Religious Agustinas Daughters of the Most Holy Savior. The passage of time, the weather and the application of poor maintenance diminished the state of their structures, accelerating their deterioration. After a thorough analysis, it was approved to carry out a new coverage design and the reinforcement of its structures, in such a way that value is added to the existing church.
For the new design of the coverage four very important points were considered: the Constructive System that best suits the planned, the Height of the Interior Space to provide and size the ship, the Altar as the main point of attention and finally the New Facade and the Interaction with the Environment.
Considering all the aforementioned, it was decided to use steel as the predominant material due to its malleability, resistance and optimization in execution times.
The use of pointed arches allowed to cover large lights and achieve the appropriate height, providing the desired comfort to the user.
In order to make the altar the main point of attention within the enclosure, “La Paloma”, symbol of the Holy Spirit, was adopted as a conceptual image. By means of the superposition of three planes at different heights it was possible to symbolically represent a dove with open wings, located in the upper part of the altar can be appreciated from any place of the ship, denoting the presence and company of the Holy Spirit in all moment.
To integrate the façade with the surroundings, in this case integrate the park that faces the street, it was proposed to transfer the idea of Altar to the street figuratively, and to achieve it, glass panels were raised between the facade and the roof, creating an independent element that simulates an altar, where the image of Our Lady of Consolation was placed, made in steel by the renowned sculptor Luis Sono Cabrera.
This new spatial configuration created a strong link between the inside and the outside, generating a new interaction with the user, inviting him to enter and remain inside.
Without violating and completely forgetting the context and the existing scene, it was possible to create a unique and striking space environment, composed of a spacious environment, white walls, transparencies that let natural light sinuously, artificial lights strategically located that views of far they denote the presence of something important. Lightness, peace, comfort and religious identity, is what comes together in this spiritual space.