© Sebastian van Damme

塞巴斯蒂安·范丹梅

 © Sebastian van Damme

塞巴斯蒂安·范丹梅

架构师提供的文本描述。火葬场位于比利时城市西环公路旁的乡村，占地74x74米，与周围公园周边的树木和灌木融为一体，这是由景观设计师埃里克·多特(Erik Dhont)构思的。接近Blauwenbergstraat入口处时，现场弥漫着一种平静的感觉，到达时，游客们被起伏着的柔和的绿色土堆巧妙地说服了下来。在北方，池塘是雨水的蓄水池，而邻近的小山则是用来存放散落的灰烬和骨灰缸花园的。在东端，有一条为灵车服务的道路，这条路是完全隐藏在视线之外的，这样，在悼念仪式上，家庭就不会受到干扰，隐私也会受到尊重。

Text description provided by the architects. Located in the countryside bordering the western ring road of the Belgian city, the crematorium, with its 74 x 74-meter footprint, merges with trees and shrubs that line the perimeter of the surrounding park, which was conceived by landscape architect Erik Dhont. Approaching the entrance at Blauwenbergstraat, a sense of calm pervades the site and upon arrival, visitors are subtly persuaded to slow down by the undulating gentle green mounds. To the north, a pond serves as a reservoir for rainwater, while small adjacent hills are dedicated to scattered ashes and to an urn garden. At the eastern end, there is a service road for the hearses that is entirely hidden from view so that families are not disturbed during the mourning ceremony, and so that privacy is respected.   

Text description provided by the architects. Located in the countryside bordering the western ring road of the Belgian city, the crematorium, with its 74 x 74-meter footprint, merges with trees and shrubs that line the perimeter of the surrounding park, which was conceived by landscape architect Erik Dhont. Approaching the entrance at Blauwenbergstraat, a sense of calm pervades the site and upon arrival, visitors are subtly persuaded to slow down by the undulating gentle green mounds. To the north, a pond serves as a reservoir for rainwater, while small adjacent hills are dedicated to scattered ashes and to an urn garden. At the eastern end, there is a service road for the hearses that is entirely hidden from view so that families are not disturbed during the mourning ceremony, and so that privacy is respected.   

 © Sebastian van Damme

塞巴斯蒂安·范丹梅

 © Sebastian van Damme

塞巴斯蒂安·范丹梅

建筑伴随着从一个繁忙的外部世界过渡到一个充满平静和克制的隐喻和物理内部。西南角的建筑打开了一个露台，作为过渡区，欢迎游客，并带领他们走向室内空间。由于火葬场典型的特点是复杂的物流，卡安建筑设计了一个建筑物是不言自明和感觉自然使用。

Architecture accompanies the transition from a busy outside world into a metaphorical and physical interior imbued with calm and restraint. The south-western corner of the building opens onto a patio and serves as a transitional zone, welcoming visitors and leading them towards the indoor spaces. As crematoria are typically characterized by complex logistics, KAAN Architecten has designed a building that is self-explanatory and feels natural to use. 

Architecture accompanies the transition from a busy outside world into a metaphorical and physical interior imbued with calm and restraint. The south-western corner of the building opens onto a patio and serves as a transitional zone, welcoming visitors and leading them towards the indoor spaces. As crematoria are typically characterized by complex logistics, KAAN Architecten has designed a building that is self-explanatory and feels natural to use. 

 © Simone Bossi

西蒙尼·博西

进入火葬场后，一系列空间塑造了游客的物理体验，防止了空间混乱。在6.4米高，卓越的地板到天花板的内部高度增强了巨大的感觉，与温暖充足的日光。一个巨大的混凝土天篷延伸到一个慷慨的比例大厅，从那里接待处立即可见。接待大厅里透出了光线，两扇大窗户俯瞰着一个景观花园，还有一条通往自助餐厅的隐蔽通道，其中有比利时艺术家里纳斯·范德·韦尔德(Rinus Van De Velde)的一幅大型绘画作品。

Upon entering the crematorium, a sequence of spaces shapes the visitor’s physical experience, preventing spatial confusion. At 6.4 meters tall, the remarkable floor-to-ceiling height of the interior enhances the sense of vastness, paired by the warm abundance of daylight. A large concrete canopy stretches into a generously proportioned hall from which the reception desk is immediately visible. The reception hall is infused with light by two large windows overlooking a landscaped garden and houses a discreet passageway to the cafeteria, which features a large-scale painting by Belgian artist Rinus Van de Velde. 

Upon entering the crematorium, a sequence of spaces shapes the visitor’s physical experience, preventing spatial confusion. At 6.4 meters tall, the remarkable floor-to-ceiling height of the interior enhances the sense of vastness, paired by the warm abundance of daylight. A large concrete canopy stretches into a generously proportioned hall from which the reception desk is immediately visible. The reception hall is infused with light by two large windows overlooking a landscaped garden and houses a discreet passageway to the cafeteria, which features a large-scale painting by Belgian artist Rinus Van de Velde. 

 © Simone Bossi

西蒙尼·博西

火葬场包括两个礼堂。最大的有宽敞的尺寸，可容纳600人。Kaan建筑公司参与了整个设计，包括家具，尤其是长椅：造型优雅的座椅，带有黄色米黄色的皮革装潢，是火葬场空间中反复出现的色调，其柔和的质地和对沙子和灰尘的直接引用被选中。后面的表面是玻璃，向外看一个露台，直接连接建筑物与周围的景观。这两个集合空间都有一个家庭房间和一个哀悼的地方；除此之外，一个室外的绿色植物区将自然与日光联系在一起，并为失去亲人的人所经历的强度和灵性提供了一种平衡。

Crematorium Siesegem encompasses two ceremonial assembly halls. The largest has generous dimensions, with seating for 600 people. KAAN Architecten was involved in the overall design, including the furnishings, and in particular the benches: elegantly shaped seating with leather upholstery in yellow-beige color, a recurrent hue for the Crematorium spaces, chosen for its gentle texture and direct reference to sand and dust. The back surface is glazed and looks out onto a patio, directly connecting the building to the surrounding landscape. Both assembly spaces have a family room and a place for condolences; besides them, an outdoor area with greenery links nature to daylight and offers a counterweight to the intensity and spirituality experienced by the bereaved. 

Crematorium Siesegem encompasses two ceremonial assembly halls. The largest has generous dimensions, with seating for 600 people. KAAN Architecten was involved in the overall design, including the furnishings, and in particular the benches: elegantly shaped seating with leather upholstery in yellow-beige color, a recurrent hue for the Crematorium spaces, chosen for its gentle texture and direct reference to sand and dust. The back surface is glazed and looks out onto a patio, directly connecting the building to the surrounding landscape. Both assembly spaces have a family room and a place for condolences; besides them, an outdoor area with greenery links nature to daylight and offers a counterweight to the intensity and spirituality experienced by the bereaved. 

 Level 0 Plan

0级计划

其次，对于仪式空间，建筑的技术方面也是设计的基本部分。建筑师努力揭示，而不是隐藏火化过程，创造了一个不寻常的，但有效的极性之间的机械和宁静。软沙黄色的家具颜色与烤箱和烟囱的回声，从屋顶的玻璃开口延伸。这座建筑充满了一种尊严和亲密感。

Next, to the ceremony spaces, the technical aspects of the building are also a fundamental part of the design. The architects endeavor to disclose, rather than hide the cremation process, creating an unusual yet effective polarity between the mechanics and the serenity. The soft sandy yellow color of the furniture is echoed by the ovens and the chimney that stretches up through a glazed opening in the roof. A sense of dignity and intimacy infuses the building. 

Next, to the ceremony spaces, the technical aspects of the building are also a fundamental part of the design. The architects endeavor to disclose, rather than hide the cremation process, creating an unusual yet effective polarity between the mechanics and the serenity. The soft sandy yellow color of the furniture is echoed by the ovens and the chimney that stretches up through a glazed opening in the roof. A sense of dignity and intimacy infuses the building. 

 © Sebastian van Damme

塞巴斯蒂安·范丹梅

材料的选择和细节是实现平静心情的头等大事。在外观上，卡恩·建筑选择了贝顿·布鲁特的节奏。对于内部，墙壁是马特和有一个纹理渲染，而天花板有一个粗糙的喷漆，以确保无声的声学-这是这样一个建筑的基本特征。为家庭客房和自助餐厅选择了橡木地板。

The choice of materials and the detailing are paramount to achieving a placid mood. For the exterior, KAAN Architecten chose the rhythm of béton brut. For the interior, the walls are matt and have a textured render, while the ceiling has a rough sprayed finish to ensure muted acoustics – a fundamental feature of such a building. Oak parquet floors have been chosen for the family rooms and the cafeteria. 

The choice of materials and the detailing are paramount to achieving a placid mood. For the exterior, KAAN Architecten chose the rhythm of béton brut. For the interior, the walls are matt and have a textured render, while the ceiling has a rough sprayed finish to ensure muted acoustics – a fundamental feature of such a building. Oak parquet floors have been chosen for the family rooms and the cafeteria. 

 © Simone Bossi

西蒙尼·博西

 © Simone Bossi

西蒙尼·博西

所有的空间都体现了建筑的本质，而大理石则起着至关重要的作用。在将石块锯成2.4×1米厚的板后，建筑师们安排了一个构图，形成了一个视觉上连贯的图案。地板和墙壁被以同样的方式对待。接待处的大厅、酒吧、讲台、凉亭和庭院墙壁的高边都使用了相同的大理石。

All the spaces express the essence of the architecture, and Ceppo di Gré marble plays a vital role. After sawing the stone blocks into 2.4 x 1-meter plates, the architects arranged a composition that results in a visually coherent pattern. Floors and walls have been treated in the same way. Identical marble was used for the reception desk in the long foyer, the bar, the lectern, the catafalque and the high skirting of the courtyard walls. 

All the spaces express the essence of the architecture, and Ceppo di Gré marble plays a vital role. After sawing the stone blocks into 2.4 x 1-meter plates, the architects arranged a composition that results in a visually coherent pattern. Floors and walls have been treated in the same way. Identical marble was used for the reception desk in the long foyer, the bar, the lectern, the catafalque and the high skirting of the courtyard walls. 

 © Simone Bossi

西蒙尼·博西

 © Simone Bossi

西蒙尼·博西

在比利时，火葬场传统上有一个比其他国家更复杂的方案。它们是聚会、用餐和与亲友重新联系的空间。客户的重要经验和对话对项目至关重要。KaanArchitecture设计了清晰的空间和易于阅读的路由，以将标牌减少到最低限度。游客永远不应该感到迷茫，建筑不仅仅是背景，还可以提供空间指导。内部对游客说话，并呼吁他们的情感：它灌输冷静和空间的顺序加强反思。

In Belgium, crematoria traditionally have a more complex programme that other countries. They are spaces for gathering, enjoying a meal and reconnecting with relatives and friends. The client’s significant experience and dialogue were crucial to the project. KAAN Architecten designed legible spaces and easily readable routing to reduce signage to a minimum. Visitors should never feel lost, and architecture goes beyond being a mere background, to offer spatial guidance. The interior speaks to visitors and appeals to their emotions: it instills calmness and the sequence of spaces enhances reflection. 

In Belgium, crematoria traditionally have a more complex programme that other countries. They are spaces for gathering, enjoying a meal and reconnecting with relatives and friends. The client’s significant experience and dialogue were crucial to the project. KAAN Architecten designed legible spaces and easily readable routing to reduce signage to a minimum. Visitors should never feel lost, and architecture goes beyond being a mere background, to offer spatial guidance. The interior speaks to visitors and appeals to their emotions: it instills calmness and the sequence of spaces enhances reflection. 

 © Sebastian van Damme

塞巴斯蒂安·范丹梅

火葬场西塞宝石是一首颂歌的垂直，而在它的几何和平衡比例水平和纯净。它平静、易读的环境和宁静的景观融合在一起，散发出真正的宁静。在不屈从于浮夸的纪念性建筑的情况下，这座建筑及其周围的场地是一片宁静的绿洲，供人们回忆。

The Crematorium Siesegem is an ode to verticality, while being horizontal and pure in its geometry and balanced proportions. Its calm, easily readable environment and tranquil landscape merge together to emanate genuine serenity. Without succumbing to pompous monumentalism, the building and its surrounding grounds are a peaceful oasis for reminiscence. 

The Crematorium Siesegem is an ode to verticality, while being horizontal and pure in its geometry and balanced proportions. Its calm, easily readable environment and tranquil landscape merge together to emanate genuine serenity. Without succumbing to pompous monumentalism, the building and its surrounding grounds are a peaceful oasis for reminiscence. 

 © Simone Bossi

西蒙尼·博西

Architects KAAN Architecten

Location Merestraat 169, 9300 Aalst, Belgium

Architects in Charge Kees Kaan, Vincent Panhuysen, Dikkie Scipio

Area 5000.0 m2

Project Year 2018

Photographs Sebastian van Damme, Simone Bossi

Category Crematorium

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