Death and Architecture
Death and Arhchitecture _ Silvio Carta
Building the End
A Space for the End _ Silvio Carta
− De Nieuwe Ooster Cemetery Park _ Karres en Brands Landscape Architects
− Lakewood Garden Mausoleum _ HGA
− Parma Crematory _ Zermani Associati Studio di Architettura
− Islamic Cemetery in Altach _ Architekt di Bernardo Bader
− New Silvi Cemetery _ Giovanni Vaccarini
− Cloud Pantheon _ Clavel Arquitectos
− Ingelheim Funeral Chapel _ Bayer & Strobel Architekten
− Erlenbach Cemetery Building _ Andreas Fuhrimann Gabrielle Hächler Architekten
− The First Crematorium in Kedainiai _ G.Natkevicius & Partners
− Pinoso Funeral Home and Garden _ Cor & Asociados
Architecture of Memorial
Architecture of Memorials: Designing the Presence of Something Absent _ Nelson Mota
− Memorial to the Abolition of Slavery _ Wodiczko + Bonder
− National September 11 Memorial _ Handel Architects
− Memorial to Victims of Violence in Mexico _ Gaeta-Springall Arquitectos
− Kazerne Dossin _ awg Architecten
− Zanis Lipke Memorial _ Zaigas Gailes Birojs
− Memorial Museum in Palmiry _ WXCA
C3 no.345 (2013 #5/12)
Building the End
A Space for the End _ Silvio Carta
Several definitions of architecture encompass such questions as how to meet human needs, accommodate activities, display power, remember past events, or—most recently—trigger new and more complex social schemes. All these examples are meant to convey meanings and functions for living people. But what happens when we require architecture to deal with the aftermath of life? Funerary architecture has the delicate duty of representing a threshold between two phases of human existence: life and its end. More than in other architectural typologies, funerary architecture needs to create a religious atmosphere in which proportions, light, colors and materials are all called upon to provide an adequate platform for the belief, remembrance, grief and tribute that follow a loss. C3 has previously discussed similar questions in The Form of Remembrance(#323) and Places of Worship Never End(#312) and elsewhere. However, the analysis of the projects in this issue will shed light on a significant aspect of these special works of architecture. Constantly and ubiquitously present at the beginning and ending of our lives, natural elements appear to be a crucial design element for architects called upon to face the challenge of building for the end.
C3 no.345 (2013 #5/12)
Building the End
A Space for the End _ Silvio Carta
Several definitions of architecture encompass such questions as how to meet human needs, accommodate activities, display power, remember past events, or—most recently—trigger new and more complex social schemes. All these examples are meant to convey meanings and functions for living people. But what happens when we require architecture to deal with the aftermath of life? Funerary architecture has the delicate duty of representing a threshold between two phases of human existence: life and its end. More than in other architectural typologies, funerary architecture needs to create a religious atmosphere in which proportions, light, colors and materials are all called upon to provide an adequate platform for the belief, remembrance, grief and tribute that follow a loss. C3 has previously discussed similar questions in The Form of Remembrance(#323) and Places of Worship Never End(#312) and elsewhere. However, the analysis of the projects in this issue will shed light on a significant aspect of these special works of architecture. Constantly and ubiquitously present at the beginning and ending of our lives, natural elements appear to be a crucial design element for architects called upon to face the challenge of building for the end.
