One of the main features that distinguishes this project designed by Miguel Fisac is the relationship between the Church, the main piece of the Set, and the rest of the services. Although Miguel Fisac in previous projects (such as the San Pedro Mártir Theological Set) makes the church the main piece, singular and with specific geometries for it, in Saint Ana we distinguish a single language: same materials, same constructive elements and a clear intention to homogenize all the pieces and give unity to the Set.
As a result, a series of buildings all raised in concrete "in situ" and crowned with the same roof sewn with its famous bone beams.
The main conditioning factor with which Fisac dealt in this case was the change of regulations given in the Second Vatican Council on religious art and the transformation that took place in the celebration of the Eucharist: the celebration of community acts and participation was requested active of the faithful. The masses were no longer in Latin or with their backs to the audience.
This completely changes the relationship of spaces within the church:
As a result, a series of buildings all raised in concrete "in situ" and crowned with the same roof sewn with its famous bone beams.
The main conditioning factor with which Fisac dealt in this case was the change of regulations given in the Second Vatican Council on religious art and the transformation that took place in the celebration of the Eucharist: the celebration of community acts and participation was requested active of the faithful. The masses were no longer in Latin or with their backs to the audience.
This completely changes the relationship of spaces within the church:
«This is the first church that I designed with the liturgical guidelines issued by the Second Vatican Council. The spatial approach was completely different, almost opposite to that of the previous provisions. There was not a single focus, the altar, but a moving focus »
The new situation transforms the relationship between the faithful and the priest, and their disposition in the church. This need is met by the peculiar shape of its oval plant, embracing the "meeting" in which the faithful are to be organized with respect to the altar. In addition, special attention is paid to the fact that they do not meet around a specific point (a single fixed focus), but rather around the path configured by the Sanctuary-Table-Ambo axis.
In this project Fisac has the collaborations of the sculptor José Luis Sánchez and the painter Agustín Úbeda:
«I also looked for the way for my collaborators to be artists who could carry out a really positive work. In this sense the collaboration of the sculptor José Luis Sánchez was very positive (...) I was very pleased. It was necessary to do some small thing in the reserve of the Blessed Sacrament and in the place of the baptismal font, there intervened Agustín Úbeda, a painter of the first rank and professor of Fine Arts, etc. I make some very interesting stained glass windows.»
The work of the sculptor, designed for the three concavities head of the church were made in metallic cement, getting an aspect very similar to that of concrete, remaining in harmony with the temple. However the painter in the realization of its two stained glass windows (occupying the Sanctuary and the Bapistery) is recreated in the multitude of colors and abstract forms, contrasting with the monochrome of the rest of the church.
