Beautiful Death, représente une série d’illustrations réalisées par Robert M. Ball et le studio 360i pour HBO. Ces posters représentent toutes les morts de Game Of Thrones, de chaque épisodes au cours des 4 dernières saisons. Plus de détails et d’images dans la suite de l’article.
Eight intersecting arches give a towering symmetry to this copper-coated mausoleum erected in the English countryside for a revered Iranian philosopher (photography by Edmund Sumner).
Designed by emerging London studio Borheh, the structure was built as a memorial to Javad Nurbakhsh – a master within the branch of Islam known as Sufism, which is thought by some to be a philosophy of existence that pre-dates religion.
The structure is located within a dense thicket of woodland in Oxfordshire, on a site chosen by Nurbakhsh, who spent the latter years of his life in England.
Raised off the forest floor on a tiered plinth, it comprises a ring of copper-coated steel triangles. These are expected to change colour as they gradually oxidise, allowing the tower to show its age.
“The mausoleum’s blend of striking design and organic materials presents a refreshingly modern take on mysticism without detracting from its timeless spiritual ideals,” said the architect in a statement.
The arched forms chosen reference some of the characteristic motifs of Persian architecture, creating a tower intended to demonstrate “geometrical perfection and simplicity”.
“The mausoleum combines traditional Persian architecture with contemporary materials local to Iran, resulting in a construction that reflects the Iranian heritage of Dr Nurbakhsh, while remaining in keeping with the English landscape,” said the architect.
The structure was built as a series of modules using local artisanal techniques in Iran. These were then shipped across to the UK and erected onsite.
Photography is by Edmund Sumner.
Here’s a project description from Borheh:
Contemporary Sufi memorial brings Iranian mysticism to the heart of the English countryside
A mausoleum dedicated to the memory of a prominent Iranian Sufi master, Dr Javad Nurbakhsh (10th December 1926 – 10th October 2008), has recently completed construction. The mausoleum’s blend of striking design and organic materials presents a refreshingly modern take on mysticism without detracting from its timeless spiritual ideals.
London based multidisciplinary creative studio, Borheh, have unveiled the completed mausoleum which adds a unique spiritual presence to the Oxfordshire countryside. Located near Banbury, England, the mausoleum stands on a beautiful natural location chosen by Dr Nurbakhsh himself during his lifetime. It is nestled amongst a dense wooded grove, named “the Forest”, which was planted by Dr Nurbakhsh in the 1990s.
The mausoleum combines traditional Persian architecture with contemporary materials local to Iran, resulting in a construction that reflects the Iranian heritage of Dr Nurbakhsh, while remaining in keeping with the English landscape. The structure is created from copper-coated steel which will naturally change colour over time as it is exposed to the elements, allowing it to evolve and adapt organically within the forest.
Using traditional Persian architectural motifs, the mausoleum evokes the principles of Sufi mysticism with a unified display of geometrical perfection and simplicity. Eight overlapping triangular arches converge together in a form known as karbandy, maintaining a balance of strength and elegance across every point. The geometrical perfection of the form is manifested through its interaction with the sun, as the natural path of sunlight creates a unique pattern of shadows through the passing of the day.
For minimum impact to the natural landscape, Borheh utilised an innovative approach to construction by following a modular method. Each part of the mausoleum was constructed separately in Iran, using local artisanal techniques. It was then transported to the UK and reassembled on site. While this was by no means an easy endeavour, the process ensured both the protection of the natural woodland that would be home to the mausoleum and remained faithful to the mausoleum’s cultural heritage.
The project represents a combination of traditional artistic principles and cutting edge technologies – the ideal monument to the life and work of a modern mystic.
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honours an Iranian philosopher appeared first on Dezeen.
The 77 individuals who lost their lives during the 2011 terrorist attacks in Norway will be commemorated by this competition-winning intervention by Swedish artist Jonas Dahlberg to sever a strip of headland from the coastline near Oslo.
Jonas Dahlberg plans to pay tribute to victims by creating “a wound or a cut within the landscape” that will symbolise the feeling of loss created by the events of 22 July, which included the bombing of a government quarter in Oslo and the shootings that followed on the nearby island of Utøya.
The artist plans to make a 3.5 metre-wide slice between the surface of the landscape and the waterline in the Norwegian village of Sørbråten – just across the water from Utøya – effectively making it impossible to reach the end of the headland on foot.
“My concept for the Memorial Sørbråten proposes a wound or a cut within nature itself,” explained Dahlberg in his competition text. “It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died.”
A five-minute trail will lead visitors across the landscape towards the memorial. This pathway will become a tunnel, arriving at a cutaway that faces across the water towards a stone wall inscribed with the names of the victims.
“The names will be close enough to see and read clearly, yet ultimately out of reach,” said the artist. “This experience hopes to bring visitors to a state of reflection through a poetic rupture or interruption. It should be difficult to see the inherent beauty of the natural setting, without also experiencing a sense of loss.”
Dahlberg also plans to use the excavated material to build a second memorial at the government quarter in Oslo, forging a connection between the two sites to reference the connection between the two attacks.
The various trees and plants removed to create the pathway at Sørbråten will form an artificial landscape in Oslo, creating a sunken walkway with tiered seating along one side. Meanwhile, the leftover stone will be used to construct an amphitheatre.
Here’s the full announcement from the July 22 Memorials organisation:
Swedish artist Jonas Dahlberg to design July 22 Memorial sites in Norway
Director of KORO/Public Art Norway Svein Bjørkås announced the jury’s evaluation of submissions and final decision in the closed competition July 22 Memorial sites. The jury’s decision was unanimous, voting Swedish artist Jonas Dahlberg as winner of the competition.
Dahlberg’s concept takes the site at Sørbråten as its point of departure. Here he proposes a wound or a cut within the landscape itself to recreate the physical experience of something being taken away, and to reflect the abrupt and permanent loss of those who died on Utøya. The cut will be a three-and-a-half-metre wide excavation running from the top of the headland at the Sørbråten site to below the waterline and extending to each side. This gap in the landscape will make it impossible to reach the end of the headland.
The material excavated from the cut at Sørbråten will be used to build the foundation for the temporary memorial at the Government Quarter in Oslo, and will also subsequently serve as the foundation for the permanent memorial there.
From the Jury’s evaluation of Jonas Dahlberg’s proposal:
Jonas Dahlberg’s proposal takes the emptiness and traces of the tragic events of 22 July as its starting point. His suggestion for the Sørbråten site is to make a physical incision into the landscape, which can be seen as a symbolic wound. Part of the headland will be removed and visitors will not be able to touch the names of those killed, as these will be engraved into the wall on the other side of the slice out of nature. The void that is created evokes the sense of sudden loss combined with the long-term missing and remembrance of those who perished.
Dahlberg has proposed to move the landmass taken out of the rocky landscape at Sørbråten to the permanent and temporary memorial site in the Government Quarter in Oslo. By using this landmass to create a temporary memorial pathway between Grubbegata and the Deichmanske Library, a connection is forged between the memorial sites at Sørbråten and the Government Quarter. The names of those killed will be recorded on a wall that runs alongside the pathway.
The proposed permanent memorial site in Oslo takes the form of an amphitheatre around Høyblokka. Dahlberg also proposes to use trees taken from Sørbråten in this urban environment to maintain the relationship between the memorial sites in the capital and to the victims of the atrocities at Utøya.
The Jury considers Dahlberg’s proposal for Sørbråten as artistically highly original and interesting. It is capable of conveying and confronting the trauma and loss that the 22 July events resulted in in a daring way. The proposal is radical and brave, and evokes the tragic events in a physical and direct manner.
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honour Norwegian terrorist attack victims appeared first on Dezeen.
Portuguese studio Armazenar Ideias used blocks of white marble to build this cube-shaped mausoleum for a family living in the city of Póvoa de Varzim (+ slideshow).
Rather than replicating the classical structures typically built for Portuguese families, Pedro Matos of Armazenar Ideias wanted to design a more modern and simplistic vault for the Gomes family, who originated from Venezuela.
“There are different values to be represented in architecture now,” Matos told Dezeen. “Not so much the old solemnity and ‘baroque thinking’ associated to death, but a much more simple and essential way to interpret it, detached from the excess of symbolism.”
The architect sourced the purest marble he could to build the walls of the mausoleum, creating a grid of white squares around the rear and sides of the structure.
“The project tries to relate itself with the sacred theme,” said Matos. “The facades carry the weight of a temple and are made of the whitest marble we could find, the colour of purity to Catholicism.”
Some of these panels are slightly displaced, allowing narrow openings to puncture the rear wall.
To contrast with the bright marble, the facade of the vault is made from reflective black glass, intended to reflect the surroundings and give privacy to the interior.
“The black mirror asks everyone to look at themselves before entering,” added Matos.
Darker marble lines the interior of the building and a single brass cross is positioned against the far wall.
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and black glass by Armazenar Ideias appeared first on Dezeen.
Ornamental doors and windows sit within recesses that appear to have been carved away from the coarse granite walls of this mausoleum in Minneapolis by American architecture firm HGA (+ slideshow).
HGA designed the Garden Mausoleum for Minnesota’s Lakewood Cemetery, a complex first established in 1871, after being asked to create burial space for 10,000 people, a new funeral chapel and a reception area for post-service gatherings.
Much of the structure is set into the side of a hill, allowing the neat surrounding lawns to extend up over the roof. All of the emerging walls are clad with dark blocks of granite that contrast with the bright white mosaic tiles lining their recesses.
Glass doors sheathed in decorative bronze grilles lead inside the building, where architect Joan Soranno and John Cook have used a variety of materials that include rich mahogany, oak, white marble and gleaming onyx to give colour and texture to walls and floors.
“Material selections draw on memorial architectural tradition as well as Lakewood’s own history,” they said. “Conventional funerary materials like granite, marble and bronze are reinterpreted within a twenty-first century architectural expression.”
A square doorway punctures a wall of granite within the building, leading from the main reception to a series of subterranean crypts and columbarium rooms that accommodate both coffins and urns.
Rectangular skylights bring a single shaft of daylight into each of the crypts, while the columbarium rooms each feature one circular roof opening that emerges on the roof at the centre of a grassy mound.
“The Lakewood Garden Mausoleum builds its meaning from the most common and indelible aspects of human experience – the immediacy of light and dark, the immutability of squares and circles, and the echo of stone surfaces,” said the architects.
Small courtyards are slotted between the crypts and are fronted by floor-to-ceiling windows that frame views out across the cemetery gardens.
Photography is by Paul Crosby.
Here’s a project description from HGA Architect and Engineers:
Lakewood Cemetery Garden Mausoleum
Since its founding in 1871, Lakewood Cemetery in Minneapolis has served as the foremost resting place for Minnesota’s distinguished citizens. Familiar names like Humphrey, Wellstone, Pillsbury, and Walker are found here, among a long list of local pioneers, heroes, civic leaders, industrialists and art patrons. The private, non-sectarian cemetery is laid over 250 acres of rolling landscape adjoining the city’s historic Grand Round’s parkway system. Lakewood Cemetery’s historical importance and impeccably manicured grounds make it a treasured landmark and community asset in the City’s Uptown neighbourhood.
Governed as a non-profit from its beginning, the Lakewood Cemetery Association recognised the need for prudent planning to ensure its vitality for the indefinite future. Despite the broad expanses of Lakewood’s grounds, a mere 25 acres remain available for future development. With an existing 1967 Mausoleum nearing capacity (due largely to the increased acceptance and interest in above ground burial and cremation) the Cemetery’s Board of Trustees commissioned a comprehensive Master Plan in 2003.
The lynchpin of the plan called for a new Mausoleum to expand above ground options for crypt and cremation burials, and to accommodate contemporary memorial rites and practices. The project, a new “Garden Mausoleum” called for burial space for over ten thousand people, a committal chapel, a much needed reception space for post-service gatherings, and new landscaping for the surrounding four acre site.
Challenged with the task of adding a large structure – 24,500 square feet – to a much beloved place, Joan Soranno, FAIA and John Cook, FAIA of HGA Architects and Engineers quickly committed themselves to a strategy that protected and enhanced the cemetery’s historic landscape. A large building, no matter how artful, was bound to detract from Lakewood’s pastoral beauty. Following an extensive site analysis, Joan and John chose to locate the building along the northern edge of a 1960’s era “sunken garden.” By placing the new Garden Mausoleum between the existing, two-storey mausoleum on the west and the cemetery’s 1910 Byzantine styled memorial chapel on the east, development is clustered around one location near the cemetery’s entry. This has the benefit of consolidating much of the high traffic and infrastructure to a discrete precinct within the grounds, leaving the vast majority of the original landscape and critical view sheds undisturbed.
Entering the cemetery from the main entry gates, visitors approach the new Garden Mausoleum along one of the cemetery’s many meandering roadways. Pivoting around a mass of towering pines and ancient gnarled oaks, the roadway gently inflects toward the Mausoleum entry – set back from the road with a small turn-around drive. A simple mass of split-faced grey granite, the entry’s chiseled clerestory windows and canted recesses hint at the building’s interior functions and complexity, while reducing the structure’s visual heft.
To the east of the entry, a green roof planted over the lower garden level seamlessly extends the cemetery’s manicured lawn to a newly created overlook. Minimally detailed railings, terrace paving, grass, and Juniper shrubs ensure uninterrupted views to such critical features as the nearby Chapel and the iconic Fridley and Pence monuments. Though essentially a flat lawn, neatly angled grass mounds dot the new turf like minimalist landform sculptures. The projections contain the skylights for the building’s subterranean spaces – a first suggestion to the visitor of the fusion between the building and landscape.
The Garden Mausoleum entrance at street level represents only a small fraction of the total building mass, and includes a reception room and lounge, a small business office, and catering facilities. A full two-thirds of the building lies below, tucked quietly into a south-facing hill and overlooking the lower garden.
At the main entry, framing a pair of bronze doors, intricate patterns of white mosaic tiles trace arcs and infinite loops across billowing surfaces neatly inscribed into the dark granite mass. The contrast of textures – light and dark, rough and smooth, rustic and refined – call upon both visual and tactile senses. The large glass doors, sheathed in bronze grilles that repeat the looping, circular motif of the mosaic tile, usher visitors into a serene space of folded mahogany walls, abundant prisms of daylight and distant views across a newly landscaped lower garden.
A generously scaled stair draws visitors from the entry to the lower garden level. To the west, a sweeping Venetian plaster wall directs mourners to a small chapel for committal ceremonies. Mitigating the committal chapel’s exposure to direct southern sun, tall window recesses are cut at deeply raked angles into the thick exterior wall – a strategy that both moderates the light entering the contemplative space and ensures a degree of privacy for grieving family members.
Returning to the lobby, a simple square opening cut into the rough granite wall marks the threshold between the active and communal spaces of the mausoleum, and the places of burial, remembrance, and individual contemplation. Stretching east, a single long hallway strings together alternating bays of columbaria (for cremated remains) and crypt rooms (for caskets). To the north, chambers are built entirely below grade, with each room illuminated by a single skylight; rectangular openings for crypt rooms, and circular occuli for columbaria. Here, beams of daylight trace arcs across the Alabama White marble walls. To the south, the projecting crypt rooms and interstitial columbaria form a series of intimately scaled courtyards, with each space directly tied to the lower garden’s landscape through large windows.
While geometrically similar, each interior chamber and projecting room is distinguished by subtle design variations that give each space a distinct personality and mood. Inset floors of luminous onyx alternate between honey yellow, jade green, and coral pink. Window and skylight orientations rotate and shift between rooms, variously framing a view to near or distant horizons, up to the tree canopy, or clear blue sky. The design recognises that in contemplating death – as in living matters – people have diverse perspectives and desire uniqueness. It respects that in designing a final resting place for ten thousand people, individuality, human scale, and a sensory connection to the natural world are paramount.
Material selections draw on memorial architectural tradition as well as Lakewood’s own history. Conventional funerary materials like granite, marble and bronze are reinterpreted within a 21st century architectural expression. The polychrome Chapel mosaics, for example, serve as a springboard for the white marble and glass tile pattern that owes as much to Byzantium and the organic tracery of the Chicago School as it does to geometric algorithms and funerary symbolism.
Included as a significant feature of the Garden Mausoleum project, the redesign of the four-acre site strengthens the connections between Lakewood’s distinctive architecture, while offering a serene setting for both small family services and larger community events. Formal relationships between the Chapel, the existing Mausoleum and the new Garden Mausoleum are reinforced by double rows of Autumn Blaze maple trees, a simple arrangement of walkways and parterres, and a long rectangular reflecting pool. Additionally, a grove of Hawthorne trees ameliorates the existing outdoor crypt walls on the east, while multiple exterior stairs improve access between the lower garden and the adjoining historic burial plots.
The Lakewood Garden Mausoleum, true to the Cemetery’s non-sectarian mission, builds its meaning from the most common and indelible aspects of human experience – the immediacy of light and dark, the immutability of squares and circles, and the echo of stone surfaces. An unabashed 21st century building, the design of the Garden Mausoleum is not going to confuse anybody about what is old and what is new.
Already a remarkable place before the Mausoleum broke ground, Lakewood’s landscape and its small campus of buildings are enriched because it is there – framing a view, completing an edge, and embracing human scale. At this cherished haven within the city, architectural progress meets history with grace and a newfound vitality.
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granite, white marble and gleaming onyx appeared first on Dezeen.
Italian architect Andrea Dragoni has extended a cemetery in an ancient Italian town by adding rows of monumental travertine walls with public plazas and artworks slotted in between (+ slideshow).
Andrea Dragoni was tasked with adding a new tract to the historic Gubbio necropolis, which is located just outside the town at the base of Mount Ingino in the Apennines.
The towering stone walls are laid out in sequence, intended by the architect to reflect the linear arrangement of the old town and its surrounding landscape.
“The contrast between void and solid resumes the rhythms found in the medieval town of Gubbio,” Dragoni told Dezeen. “The voids in this composition, as in many of my projects, play a central role. They become architecture with a strong poetic and spiritual reaction.”
Four equally sized courtyards are positioned at intervals between the walls. Italian artists Sauro Cardinali and Nicola Renzi created large site-specific artworks to occupy each one, plus large square skylights were added to frame views up to the sky.
“These spaces were inspired by James Turrell’s Skyspaces and are designed to be enjoyable public areas, independent from the cemetery, offering an opportunity to pause and reflect,” said the architect.
“The sky thus framed opens the mind to the reign of the invisible, allowing sight and thought to abandon Mother Earth’s gravity and acquire a more aerial and spiritual dimension,” he added.
Walls and floors are made from travertine – a form of limestone typically used in Italian architecture – and contrast with the brick structures of the original complex that can be spotted through one of the central corridors.
“Travertine was used by the Etruscans for all the most important public buildings of the Renaissance,” said Dragoni. “It is a tribute to this tradition that I wanted to reinterpret the material to emphasise the gravity of the volumes of the cemetery and their strong abstraction.”
Photography is by Alessandra Chemollo, apart from where otherwise stated.
Read on for a project description from Andrea Dragoni:
Extension of Gubbio Cemetery
The enlargement of the Gubbio cemetery is the result of studies of a new model of public building. On the one hand, it has developed the latest phase of growth of the monumental cemetery in Gubbio, one of Italy’s most important medieval cities. On the other hand, it intends to redefine its meaning and centrality within the structure of the city.
The plan is in an urban structure consisting of linear stereometric blocks arranged in such a way as to reflect the rural layouts that characterise the surrounding landscape and the historic city.
This concept of urban settlement is emphasised by the inclusion of large square enclosures designed to be open spaces that provide the structure with spatial rhythm.
These spaces were inspired by James Turrell’s Skyspaces and are designed to be enjoyable public areas, independently from the cemetery, offering an opportunity to pause and reflect. These are cubic “squares of silence” having open ceilings that evoke windows open to the sky. The sky thus framed opens the mind to the reign of the invisible, allowing sight and thought to abandon Mother Earth’s gravity and acquire a more aerial and spiritual dimension.
This relationship with the sky intends to define space that is also time, in such a way that you can find yourself again, a space that thrusts the horizon upwards like a metaphor of the boundaries of heaven, the last horizon of our life in a modern city.
At the same time, opening to the sky, it re-interprets Leon Battista Alberti’s window, a window that is like a threshold, imagined by the great Renaissance architect as the only architectural artifice able to “instil the peacefulness” evoked by the celestial void that, descending from above, takes us back to the imperturbable state of the soul without which overcoming the adversities of life is impossible.
The atmosphere of these “squares of silence” is made more suggestive by a series of permanent site-specific artistic installations that capture the changing effects of light and shadow from dawn to dusk. These installations were created by two important Italian artists (Sauro Cardinali and Nicola Renzi), with whom collaboration began during the initial stage of the project.
This contribution, strongly linked with architecture, helps to define a new space for silence and meditation within the city.
William Richard Lethaby said that human beings cannot understand the world as a whole. They must first move away from it, and only after having achieved this detachment can they achieve understanding.
In this sense a building can be seen as a model of the world; it represents an order we cannot directly experience in the world, but at the same time it makes perceptible, within the limits of a building, that which exists in the world.
Project: Andrea Dragoni, with Francesco Pes
Collaborators: Andrea Moscetti Castellani, Giorgio Bettelli, Michela Donini, Raul Cambiotti, Antonio Ragnacci, Cristian Cretaro, Matteo Scoccia
Client: Comune di Gubbio
Site-specific art work: Sauro Cardinali, Nicola Renzi
Structural design: Giuseppe Artegiani, Marco Bacchi
Plants Design: Italprogetti (Moreno Dorillo, Elvisio Regni)
Safety coordination: Claudio Pannacci
Director of works: Francesco Pes, Paolo Bottegoni
Maquette: Giuseppe Fioroni
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public plazas and site-specific artworks appeared first on Dezeen.
Ben Nunery a perdu sa femme de 31 ans à cause d’un cancer. Afin d’avancer, il a choisi de quitter la maison dans laquelle ils vivaient. Pour ne pas oublier ce lieu, il a décidé de refaire avec sa fille de 3 ans, des photos de son mariage par Melanie Tracy Pace. Une accroche au passé et un signe touchant que la vie va de l’avant.
Corten steel columns alternate with floor-to-ceiling glass to bring stripes of light and shadow into this funeral home outside Barcelona by Spanish firm Batlle i Riog Arquitectes (+ slideshow).
Located west of the city in the town of Sant Joan Despí, the stark concrete building nestles against a hillside and was designed by Batlle i Riog Arquitectes with a sloping grass roof that appears as an extension of the landscape.
At the front of the building, this roof pitches back up again to frame a long and narrow facade, where columns are arranged in two rows with a glazed perpendicular entrance in between.
“The steel pillars generate a light gradient, establishing visual filters and protecting the interior from the direct sunlight,” explained the architects.
The interior is divided into two sections that separate ceremonial activities from preparation areas. At the front, a succession of spaces lead guests from a spacious reception area into the main auditorium, then out via a private courtyard.
Each of these spaces features an assortment of raw materials that include stone floors, concrete ceilings and timber wall panels, as well as the vertical Corten elements.
Small plant-filled courtyards also intersperse the interiors and are surrounded by glazing to allow them to function as lightwells.
“The materiality generated by the assortment of exposed structural element textures together with the natural light qualify and determine the atmospheres of each space, accompanying the visitors’ mourning at every turn,” added the architects.
The rear spaces contain preparation areas where coffins can be housed before funerals take place.
Other funeral homes featured on Dezeen include a stone chapel with a sharply pointed gable in Germany and a whitewashed hall with a copper roof in Finland. See more memorial architecture »
Photography is by Jordi Surroca.
Here’s a project description from Batlle i Riog Arquitectes:
New Funeral Home in Sant Joan Despí
The building integration on site parts from the adaptation to the existing topography, with a set of pitched roofs on the terrain. The vegetation treatment of part of these roofs pretends to fade with the adjacent green slopes and improve the vision of the ensemble from the perimeter streets, on a higher level. With this strategy, in addition, the apparent building volume is reduced, lowering the vision of the construction and increasing the green surfaces.
The floor plan of the building, lays out an organisation in two areas clearly differentiated, by a public area composed by set of rooms designed to serve the users of the facility and a private area composed by the needed service rooms for the deceased preparation and the coffins movement between them. A system of patios completes the layout of the floor plan, these patios organise, rank and illuminate the spaces and establish filters between different ambiances.
The structural system is composed of walls and reinforced concrete slabs formed with pinewood boards and Corten steel pillars made of flat bars. All these elements define the building image and character providing simplicity to the materiality of the piece. The materialisation is completed with natural stone pavements and wooden vertical facing producing interior warmth. The steel pillars generate a light gradient, establishing visual filters and protecting the interior from the direct sunlight.
The materiality generated by the assortment of exposed structural element textures together with the natural light qualify and determinate the atmospheres of each space, accompanying the visitor’s mourning at every turn. In this way each space is illuminated by a specific light different from the rest. In essence, light and matter.
Authors: Enric Batlle I Durany, Joan Roig Duran, Albert Gil Margalef, Architects
Collaborators: Miriam Aranda, Architect / Dolors Feu, Agricultural Engineer & Landscape Designer / Diana Calicó, Elisabeth Torregrosa, Technical Architects / Sj12, Albert Colomer, Installation Engineering / Static, Gerardo Rodríguez, Structural Engineering
Builder: Vopi4
Surface: 700 Sqm
Location: Sant Joan Despí, Barcelona
Project & Execution Date: 2009-2011
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by Batlle i Riog Arquitectes appeared first on Dezeen.
Après la première vidéo Death Valley Dreamlapse dont nous avions pu parler en janvier 2013, Sunchaser Pictures nous propose de découvrir un nouveau time-lapse d’une beauté incroyable dans la régie de « Death Valley ». Une vidéo au rythme parfaitement maîtrisé, à découvrir dans la suite de l’article.
Prayer rooms with walls of red concrete lead out to a staggered sequence of graveyards at this Islamic cemetery in western Austria by local studio Bernardo Bader Architects (+ slideshow).
Located within the Alpine countryside, the cemetery serves the eight-percent Muslim population in the Austrian state of Vorarlberg and comprises a simple rectilinear building with five burial enclosures.
Bernardo Bader Architects used red-tinted concrete for the construction of the building and its surrounding walls. The surfaces remain exposed both inside and outside the complex, revealing the rectangular imprints of wooden formwork.
A long rectangular window stretches across the facade, screened by a latticed oak framework that displays one of the traditional patterns of Islamic mashrabiya screens.
The building accommodates both prayer rooms and assembly halls. The largest room opens out to a private courtyard and features lighting fixtures set into circular ceiling recesses.
The five rectangular graveyards are lined up at the back of the building. Each one contains several trees, benches and small patches of grass.
Completed in 2011, the Islamic Cemetery is one of 20 projects on the shortlist for the Aga Khan Award 2013. Five or six finalists will be revealed later this year and will compete to win the $1 million prize.
Other architect-designed cemeteries completed in recent years include a seaside graveyard in Italy and a pair of wooden pavilions in Belgium. See more stories about cemeteries, funeral chapels and memorials.
Here’s a short project description from the Aga Khan Award organisers:
The cemetery serves Vorarlberg, the industrialised westernmost state of Austria, where over eight percent of the population is Muslim. It finds inspiration in the primordial garden, and is delineated by roseate concrete walls in an alpine setting, and consists of five staggered, rectangular grave-site enclosures, and a structure housing assembly and prayer rooms.
The principal materials used were exposed reinforced concrete for the walls and oak wood for the ornamentation of the entrance facade and the interior of the prayer space. The visitor is greeted by and must pass through the congregation space with its wooden latticework in geometric Islamic patterns. The space includes ablution rooms and assembly rooms in a subdued palette that give onto a courtyard. The prayer room on the far side of the courtyard reprises the lattice-work theme with Kufic calligraphy in metal mesh on the ‘qibla’ wall.
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Bernardo Bader Architects appeared first on Dezeen.
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