建筑設(shè)計：KAAN建筑師事務(wù)所Architects： KAAN Architecten

海默倫火葬場，圣尼古拉斯，比利時

建筑設(shè)計：KAAN建筑師事務(wù)所
Architects： KAAN Architecten

1 火化廳外景/Exterior view of crematorium

2 火化廳與墓地/Crematorium and cemetery

海默倫墓園位于比利時圣尼古拉斯境內(nèi)E34公路南部，該公路連通安特衛(wèi)普與根特兩座城市。高聳的樹木與緩坡河岸從三面對場地形成了圍合，使其幾乎消失在公路行車的視野中。

這組圣尼古拉斯的新火葬場設(shè)施，通過兩座獨立的建筑體量進行組織：一座用于儀式，一座用于火化。

將兩座建筑分開是考慮到實際施工和環(huán)境的需要，同時也是希望能賦予它們不同的特征，使形式源于功能。另外，這個策略也使場地和建筑中形成一組空間上的儀式序列，與葬禮上的各個環(huán)節(jié)緊密相關(guān)。

儀式建筑被空寂、空間、明凈的感受包裹。清晰的空間態(tài)勢和迥異的材料使用，通過對各元素的精心平衡，共同創(chuàng)造了空間的“在場”。接待廳的大開窗提供了望向墓地與周圍景觀的沉思視角；由地面直達天花的大門賦予了空間一種必要的戲劇感；穿孔天花投入的圓形光斑進一步強化了肅穆而富有深意的空間氛圍；而自然礫石與木材的使用，為使用者營造了易于冥想和放松的環(huán)境。

另一座真正用于火葬的建筑同樣特征鮮明。盒式混凝土磚構(gòu)成的立面與散布的一系列透光孔，將建筑包裹為一個靜美的方盒子，令內(nèi)含功能隱藏其中。這里使用了與儀式建筑相同的由地面貫通至天花板的大門，并選用了冷靜而嚴肅的材料，令其作為空間載體與葬禮活動絕妙契合，又不失現(xiàn)代感。

在材料的選擇上，儀式廳的地板使用輕質(zhì)石材，并延續(xù)砌筑至6m墻面的頂端。屋頂厚達2m，使用與石材同色的抹灰進行粉刷?；鸹瘡d立面使用米色預(yù)制壓型混凝土磚，磚塊單元尺寸為1m×1m。3座火化爐被并置于一處，并允許逝者親屬接近該區(qū)域?；鸹癄t的鋼材表層與浮筑地板均被飾以高光白色漆面。□（陳茜 譯）

項目信息/Credits and Data

客戶/Client： Intercommunale Westlede

聯(lián)合建筑師/Associated Architects： David Hess， Kees Kaan，Hannes Ochmann， Vincent Panhuysen， Dikkie Scipio， Luuk Stoltenborg， Yaron Tam， Hagar Zur

結(jié)構(gòu)工程師/Structural Engineers： Pieters Bouwtechniek，Delft

承建方/Construction： Roegiers， Kruibeke

景觀設(shè)計/Landscape： KAAN Architecten & Stadsbestuur Sint-Niklaas

物理裝置/Building Physics & Installations： Bureau Bouwtechniek， Antwerp

聲學(xué)設(shè)計/Acoustics： Prinssen en Bus Raadgevende Ingenieurs， Uden

藝術(shù)設(shè)計/Art： Pieter Vermeersch， Christof Fink

用途/Program： 火葬紀念建筑/Crematorium and ceremonial building

建筑面積/Floor Area： 3，187m2

設(shè)計時間/Design Period： 2005

攝影/Photos： Christian Richters（fig. 1，2，4，5，9，10，12），Sebastian van Damme（fig. 7，11）

3 總平面/Site plan

4 儀式廳外景/View of the ceremonial building

5 儀式廳局部外景/Partial exterior view of the ceremonial building

Located in the city of Sint-Niklaas in Belgium，the Heimolen Cemetary lies to the south of the E34 motorway， which runs from Antwerp to Ghent. Tall trees and sloping banks enshroud the cemetery on three sides， making the location barely visible from the road.

The new crematorium facility in Sint-Niklaas has been developed as two separate buildings： one is ceremonial while the other is functional （the crematorium proper）. The decision to separate the two buildings was based primarily on practical and environmental considerations， but also on the intent to give each of them a distinctive character and a look that derives from their functions. Moreover， this solution enables a spatial rite of passage within the site and the buildings， which is strictly related and suitable for the different stages of a funeral ceremony.

Emptiness， space， and clarity predominate in the ceremonial building. The use of clear spatial gestures and different materials results in a space that has a presence， where every element is carefully balanced. The large windows in the reception room offer a contemplative view of the cemetery and the landscape， the floor-to-ceiling doors give the space a necessary dramatic quality， and the perforation of the ceiling with round lights reinforces the solemn and pregnant atmosphere. Furthermore， the use of natural stone and wood enables contemplation and easing of thoughts.

The functional crematorium building owes its character to its fa?ade， composed of concrete cassette tiles， with a sprawl of lighted openings， making it appear as a beauty box that does not give away its contents. At the same time， the floor-toceiling doors and the sober choice of materials give shape to a proper setting for funerals， without being less contemporary.

The floor and walls of the ceremonial building are made of light stone brickwork， reaching up to a height of 6 meters. The roof is about two meters thick and is plastered in the light stone color.

The fa?ade of the crematorium is clad with cream colored， prefabricated， profiled concrete elements measuring one meter square.

The three ovens are located in an area which may be accessed by mourners. Both the steel cladding of the ovens and the floating floor are finished in high gloss white.□

7 儀式廳入口/Entrance to the ceremonial building

8 儀式廳平面/Plan of the ceremonial building

評論

金秋野：儀式廳部分的形體似乎漂浮在空中，而火化室則使用了全然不同的手法，使建筑像是一個落在地面上的首飾盒。兩者都試圖在與周圍環(huán)境相互排斥的氛圍中突顯自身的存在感。過于“干凈、純粹、洗練”的設(shè)計意圖，使建筑全然失去環(huán)境關(guān)聯(lián)和造型目的，可以被認為是任何類型的建筑，從精品店、美術(shù)館到工作間。

丁垚：在場地兩處遙遙相望的兩棟建筑，一座是為了告別的聚會，一座則是為了“無人”。零零碎碎的陽光從一個個方孔進入，照耀在焚化爐潔白的表面上，讓這無人的廳充滿了日常午后的溫暖。而聚會的大廳，頂面幾乎被整齊的圓光充滿，親友仰望，定會覺得，逝者似乎被諸神接引，那一個個飽滿的發(fā)光體，就是諸神的存在。黑（深）色和白色的色彩配置，墻、地、長椅、凳、門、窗，把人的感受在強烈的宗教感和輕松的“現(xiàn)代”感之間來回牽動。

9 儀式廳內(nèi)景/Interior view of the ceremonial building

10 儀式廳禮堂/The ceremonial hall

11 火化廳內(nèi)景/Interior view of crematorium

12 火化廳立面細部/Fa?ade detail of crematorium

13 火化廳首層平面/Floor 0 plan

14 火化廳剖面/Section

Comments

JIN Qiuye: The ceremonial building looks as if it is floating in air， while the design of the crematorium applies a completely different method that reminds me of a jewelry box on the floor. Both of these designs highlight their existence through creating a contrast to the surrounding environment. The excessively "clean， pure， and plain" design intention deprives the buildings from its context and any architectural form；as a result， it could be regarded as any type of building，from a boutique， a gallery， a workshop.

DING Yao: Facing each other across the site， the two buildings respond to each other ： one is for farewell gatherings， while the other is for "no people". Coming through the square holes in the wall， the fragmentary sunlight shines over the clean white surface of the incinerator， bringing afternoon warmness into the empty hall. The ceiling of the farewell hall is filled with regular round skylights， with which the kin and friends of the deceased feel that their loved one is held by gods who exist in those orbs. The black （dark） and white colors， and the walls， floor， bench， stool， doors，and windows pull people's feelings between the strong spiritual power and the easy "modern" design.

Crematorium Heimolen， Sint-Niklaas， Belgium， 2008