阿姆斯特丹公墓/Karres en Brands-构筑物|公墓-专筑网

阿姆斯特丹公墓/Karres en Brands

2013-02-26 20166 Views iarch

建筑, 构筑物, 公墓, 荷兰, 阿姆斯特丹, 2008, Karres en Brands, 石墙, 雕塑

建筑师：Karres en Brands
地点：荷兰，阿姆斯特丹
设计团队：Sylvia Karres, Bart Brands, Lieneke van Campen, Joost de Natris, James Melsom, Alejandro Noe, Marc Springer, Jim Navarro, Julien Merle, Pierre-Alexandre Marchevet
面积：10,000平方米
年份：2008
摄影： Areal Shooting, Jeroen Musch, Thyra Brandt, Karres en Brands提供的图片
Architects: Karres en Brands
Location: Amsterdam, The Netherlands
Design Team: Sylvia Karres, Bart Brands, Lieneke van Campen, Joost de Natris, James Melsom, Alejandro Noe, Marc Springer, Jim Navarro, Julien Merle, Pierre-Alexandre Marchevet
Area: 10,000 sqm
Year: 2008
Photographs: Areal Shooting, Jeroen Musch, Thyra Brandt, Courtesy of Karres en Brands

墓地一直是，也仍然是社会的反映：它们可洞察集体和个人之间的关系、一段时间的社会环境、大体的自然景观、葬礼文化和设计领域与景观建筑的发展。
Cemeteries have always been, and still are, reflections of society: they provide an insight into the relationship between the collective and the individual, the social environment of the time, the overall natural scene, the funerary culture and developments in the field of design and landscape architecture.

Karres和Brands于阿姆斯特丹设计了具有纪念意义的Nieuwe Ooster公墓，这是荷兰最大的公墓（就墓地数目而言）。Nieuwe Ooster墓地的设计分三个阶段落实：1889年，1915年和1928年。第一阶段和第二阶段由伦纳德•施普林格（Leonard Springer）设计。这些部分有全部属于他们自己的空间特色，但第三阶段却不同。它具有与Springer相似的风格，但却不尽相同。采纳的部分和扩建的部分使得该建筑缺乏整体结构和特点。该纪念园地就停留在了这个阶段。
Karres and Brands created a design for the garden of remembrance of the Nieuwe Ooster cemetery in Amsterdam, the largest cemetery (in terms of numbers of graves) in the Netherlands. The Nieuwe Ooster was laid out in three phases: in 1889, 1915 and 1928. The first and second phases were designed by Leonard Springer. These sections have a clear spatial quality all of their own, but the third phase does not share this quality. It bears a resemblance to the style of Springer, but is not the same. Adaptations and expansions have left it devoid of structure and identity. The garden of remembrance lies within this phase.

相对于把这三个区域在空间上连接起来，我们发现使每个区域有自己的特色是十分必要的。通过增加对比感，我们构建了清晰分明的三个区域，从而强调了每个区域的特色。第三阶段构建了新的特点。这里需要强大但简单的干预。基础是构建一个带有不同宽度平行条的区域，每个都有其自己的设计原则。在这个明确的结构里，每个选择都为了满足个人愿望。有些条包括将此区域分隔开的树篱。现有的墓地和纪念花园融入到这个区域之中就像绿地边缘的房间一样。桦树松散地分散在整个区域。一个细长的池塘和一堵瓮墙空间形成了这个空间的重点，也是火化骨灰的特殊的地方。
Instead of spatially linking the three zones, we found it necessary to give each area its own separate identity. By increasing the contrasts, a clear triple division of the cemetery is brought about, so that the qualities of each individual zone are enhanced. A new identity has been created for the third phase. A robust but simple intervention was called for here. The basis is a zone with parallel strips of varying widths, each with its own design principle. Within this unambiguous structure, choices are made possible for individual wishes. Some of the strips include hedges that divide the zone into spatial compartments. The existing graveyards and the garden of remembrance are incorporated into the zone like rooms with green edges. Birch trees are loosely spread throughout the zone as a whole. An elongated pond and an urn wall form spatial accents, and a special destination for cremation ashes.

Karres和Brands也设计了一个骨灰瓮安置地¬——一个存放骨灰盒骨灰龛的地方——作为阿姆斯特丹Nieuwe Ooster墓地火葬场纪念公园的一部分
Karres and Brands also has designed a columbarium – a place for storing funeral urns – as a component of the crematorium garden of remem- brance at the Nieuwe Ooster cemetery in Amsterdam.

就像我们不断变化的社会一样，周边埋葬死者的习俗和仪式也在不断的变化。
对于骨灰龛的需求不断增加，这体现了建造骨灰安置地的机会，它形成了这个纪念园新结构中十分重要的一部分，是众多构建这个区域的条带之一，可以存放1,000个骨灰瓮。骨灰安置地是由各条路所分割开的一个细长的建筑。
Like our changing society, the customs and rituals surrounding the burial of the dead continually endure change. The increasing demand for urn graves presented the opportunity to create a columbarium which forms an important spatial accent in the new structure of the crematorium’s garden of remembrance. The building forms one of the strips that structure the area, and provides places for 1,000 urns. The columbarium is an elongated volume dissected by pathways.

该建筑以这种方式创建的分隔元素通过内部的墙和屋顶这些倾斜线连接而成。许多安置骨灰瓮的房间都在内部掏空。从建筑外部——120米长，5米宽，5米高——有一个内敛的外观和强大的锌雕塑。从建筑内部，房间都是封闭的、宁静的白色装饰。在房间内部，访客看不到周围景观，只能看见白色的水磨石墙和天空。墙上掏空形成单、双龛的模式。在某些关键点有些特殊的壁龛，这些墙上的开口可以瞥见周围的环境，并让光线射入其中。
The separate elements of the building created in this way are linked by slanted lines in the exterior walls and roof. A number of rooms to house the urns are hollowed out within the volume. From the outside of the building – which is 120 metres long, 5 metres wide and 5 metres high – has the appearance of an introverted and robust zinc sculpture. From the inside, the rooms form enclosed, peaceful white interiors. Within the rooms visitors are sheltered from the surroundings, only the white terrazzo walls and the sky are visible. A pattern of single and double niches is hollowed out of the walls. At certain key points there are special niches where openings in the walls offer a glimpse of the surroundings and let in light.