With no more than 500 square meters, this church was a reference and an emblem from the second period of modernism in Chile.1 In fact, at the beginning of modernism during the 1930s and 1940s, Chilean architects were closely related to the European avant-gardes – under the influence of many international experiences, the architectural schools went against the academic theory and styles. The Catholic liturgy itself was strongly debated having culminated with the Second Vatican Council in 1965. This last aspect may have distracted the correct reading of the church of the Benedictine

monastery of Las Condes, which installed new disciplinary and contextual topics in our discipline, the reason why it is a significant building in Chile.