Excerpt: Tile Chapel, designed by Jimenez Arquitectos and FB+ estudio, blends spirituality, identity, and sustainability. Designed for open-air gatherings, it uses local materials like recycled tiles, stone, and wood. Built through minga (collective labor), it seeks to strengthen community bonds. More than a place of worship, it is a cultural landmark, reinforcing local identity and fostering social and economic connections.
Project Description
[Text as submitted by architect] Chapel in the Taquil Cemetery – Architecture of Identity and Community: The project consists of constructing a new chapel in the Taquil cemetery, a space dedicated to the annual mass in honor of the deceased. The project will be managed by the parish priest, the community trustees, and the local population, with the main challenge of developing an architectural solution that optimizes the available construction and economic resources.
Taquil, a rural parish in the city of Loja, Ecuador, is characterized by its strong community practices and deep-rooted Catholic faith. The new chapel will not only serve as a spiritual landmark but also as a key space within the territory and the daily lives of its inhabitants. Since many religious activities in the area take place outdoors, the proposal seeks to enhance this dynamic by designing an open chapel, located at the highest point of the cemetery.
The minga (collective labor) is established as the primary means of self-construction, allowing the residents—who are the main beneficiaries of the cemetery—to actively participate in building their chapel. Given the economic constraints, the focus is placed on local construction methods, utilizing materials readily available in the area such as stone, earth, wood, and, most importantly, recycled roof tiles.
Materiality and Construction System: The migration from rural areas to cities has led to the abandonment of many homes in Taquil, allowing for the reuse of roof tiles as the main construction material. Their durability, recyclability, and repetitive use make them a key element in the project.
The construction system is based on a tile-over-tile structure. The first third of the chapel features a continuous layer of tiles, while the remaining two-thirds incorporate wind-channeling tubes. Additionally, the curved walls, designed following the tractrix curve, help dissipate the wind and direct the viewer’s gaze toward the landscape. The chapel is crowned with a cenital opening, allowing natural light to enter and enhancing the spiritual connection of the space.
Artistic Intervention and Community Significance: Art plays a fundamental role in the chapel’s construction. The main façade houses the Holy Spirit sculpture, while the altar, floor, and part of the tile masonry are covered with recycled material mosaics. Furthermore, the community actively participates in placing stones between the joints, reinforcing their sense of ownership over the space.
Ultimately, this project is not only a landmark for the local community—where the annual mass is celebrated—but has also gained tourist value. The influx of visitors from various places has contributed to the growth of local micro-economies, establishing the chapel as a symbol of identity and resilience.
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