© Rasmus Norlander, Ariel Huber

c Rasmus Norlander，Ariel Hube

架构师提供的文本描述。瑞士最大的墓地位于莱茵河附近，离巴塞尔市中心不远，与德国接壤。所谓的霍恩里，是一个哀悼和奉献的地方，同时也是一个敏感和精确的栽培花园。它放在边界上的意义不明确。同样，它也是一个多文化的地方，反映了我们死前和死后在一起。

Text description provided by the architects. Located not far from the centre of Basel, directly at the border to Germany, close to the Rhine lies Switzerland’s biggest cemetery. The so-called Hörnli is a place of mourning and devotion, which at the same time is a sensitive and precisely cultivated garden. It is placed on the border in an ambiguous sense. Likewise, it is a multicultural place that reflects our being together before and after death.

 Ground Floor Plan

这座墓地于30年代完工，其现有的布局和建筑都是由自然嵌入的直直的古典几何顺序塑造的。这种城市布局以理性和清晰的形式给人以慰藉。新的火葬场，完成于2017年年中，从属于这些发现的模式。它既是风景的背景，也是告别的行为。它创造了一种庄重的体验，具有普世性，而且很容易为所有人所接受。

The cemetery was finished in the 30s and its existing layout and buildings are shaped by a straight classical geometrical order embedded in nature. This urban layout gives consolation in form of rationality and clarity. The new crematory, finished mid-2017 subordinates itself to these found patterns. It forms a background for both the landscape and the act of saying farewell. It creates a solemn experience, ecumenical and easily accessible to all.

 © Rasmus Norlander, Ariel Huber

c Rasmus Norlander，Ariel Hube

在主胡同之后，该建筑物似乎是一个独立的体积，符合现有的太平间建筑。一个新的入口-法院形成了一个在现有的和新的结构之间的中介空间。从那里你进入一个封闭的庭院，提供一个亲密的，半公共的空间，只有各自的哀悼者允许一个缓慢的最后行动。这一系列的空间结束在火葬场后，在高度的体积发展。建筑物从入口的最低层逐步上升到它的最高部分-独立烟囱。这些运动通过创造一系列的空间来引导这些家庭，这些空间的结束和开始是建筑，一扇打开的大窗户向天空敞开。

Following the main alley, the building appears as an independent volume in line with the existing mortuary building. A new entrance-court forms a mediating space between the existing and new structures. From there you enter an enclosed courtyard providing an intimate, semi-public space only available to the respective mourners allowing a slow approach to the final act. This sequence of spaces ending in the cremation room is followed by a volumetric development in height. The building rises step by step from the lowest level of the entrance to its highest part, the free-standing chimney. These movements guide the families by creating a succession of spaces that ends and starts with the buildings one big open window opening towards the sky.

 © Rasmus Norlander, Ariel Huber

c Rasmus Norlander，Ariel Hube

 Longitudinal Section

 © Rasmus Norlander, Ariel Huber

c Rasmus Norlander，Ariel Hube

此外，新火葬场的特点是图片的同时。焚烧的工业过程和哀悼的情感例外。翻译是一座有混凝土结构和砖皮的建筑物。混凝土是一种粗糙的工业产品，砖块是一种手工和手工铺设的材料.后者在建筑物周围延伸，对光线和空气开放，定义了一个同时开放和关闭的多孔边界。

Furthermore, the new crematory is characterized by the picture of simultaneity. The industrial process of incineration and the emotional exception of mourning. The translation is a building with a concrete structure and a brick skin. Concrete is a rough, industrial product, the brick is a hand-made and hand-laid material. The latter stretches around the building and opens to light and air, defining a porous border that is open and closed at the same time.

 © Rasmus Norlander, Ariel Huber

c Rasmus Norlander，Ariel Hube

Architects Architekturbüro Garrigues Maurer

Location Hörnliallee 70, 4125 Riehen, Switzerland

Project Year 2017

Photographs Rasmus Norlander, Ariel Huber

Category Crematorium

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