架构师提供的文本描述。在欧洲范围的邀请赛后，DetiesArchitecture被授予了这个项目.我们为殡仪馆和风景优美的墓地开发了一个非常具体的概念，它建在一个以前的粘土采掘点上，它指导着殡仪馆的建筑组成。用丹尼尔·德蒂埃的话说，我们设计了一个集合，让个体可以聚集在一起，在这里，景观、自然和建筑体积之间的关系培养了人们的感情，而这些关系似乎是从地面上浮现出来的，并有机地找到了自己的位置。

Text description provided by the architects. Dethier Architectures was awarded this project after a European-wide invited competition. We developed a very specific concept for a funeral home and landscaped cemetery, built on a former clay extraction site. The landscape guided the architectural composition of the funeral centre. In the words of Daniel Dethier, « We designed an ensemble where individuals can come together, a place where feelings are nurtured by the relationship between the landscape, nature and the built volumes, which appear to emerge from the ground and organically find their place.

 © Serge Brison

(Serge Brison)

韦尔肯瑞特殡仪馆由两座主要建筑组成，它们在宽阔的屋顶下相互连接。两者中较小的一处设有自助餐厅和相关的就餐区，而较大的建筑则在一楼设有礼拜堂，办公室位于上层，技术区和火葬设施位于地下室。在工地的入口处，从一边出发，一个看守人的住宅与场地的轮廓和主建筑的正式方面混合在一起。特别注意各卷的和谐及其相互联系。其结果-一种平衡和安心的感觉-通过混凝土墙的修整而得到加强。曲线是最好的表达方式，包括在门框和墙的底部。这所提供的宁静与从中心建筑中出现的塔的交流强度并不是对立的。这座塔被用来隐藏火葬设施的烟囱，同时为教堂提供自然通风，并将光线带入建筑物的核心。

The Welkenraedt funeral centre consits of two main structures that interconnect beneath a broad planted roof. The smaller of the two contains a cafeteria and associated dining areas, while the larger structure houses chapels on the ground floor, with offices located on the upper floor, and technical areas and cremation facilities in the basement. At the entrance to the site, set off to one side, a caretaker’s residence blends with both the contours of the site and the formal aspects of the main building. Particular attention has been paid to the harmony of the volumes and their interconnections. The result – a feeling of balance and reassurance – is reinforced by the finishing of the concrete walls. Curves are preferred means of expression, including in doorframes and the bases of walls. The tranquillity this affords is not antithetical to the communicative strengh of the tower that emerges from the central building. The tower is used to conceal the chimneys of the cremation facilities, while providing natural ventilation to the chapels and bringing light down into the building’s core.

 © Serge Brison

(Serge Brison)

在公共场所，无论是在地板、锻铁或细木工工作中，我们都能看到技术方面和细部的巧妙结合。此外，整个结构已安装了一个复杂的系统，为这两座建筑提供自然通风。布局强调内部空间的灵活性。在接待区，通道设计和可移动隔断意味着接待室可以彼此隔离或连接在一起。小礼拜堂的放置提供了类似程度的灵活性，在这种情况下，在这三个空间之间引入旋转的间隔，这是可以合并的。主礼拜堂向外开放，而中间和较小的区域则更加私密，并沐浴在来自上方的光中。声学是专门设计的，通过延长混响时间，给小教堂一种更庄严的感觉，同时在吸收性更强的接受区提供更多的亲切感。火葬设施也可供公众使用，这些设施的设计非常具体。

In the public areas, we find the same skilful blending of technical aspects and detailed finishings, whether in flooring, wrought iron or joinery work. Moreover, the entire structure has been fitted with a sophisticated system for providing natural ventilation to both buildings. The layout emphasises the flexibility of the interior spaces. In the reception area, the passageway design and the moveable partitions mean that reception rooms can be isolated one from another or joined together. The placement of the chapels offers a similar level of flexibility, in this case by the introduction of rotating partitions between the three spaces, which may be combined. The main chapel opens onto the outside, while the intermediate and smaller areas are more private and are bathed in light coming from above. The acoustics were specifically designed to give the chapels a more solemn feeling through an extended reverberation time, while offering greater intimacy in the more absorbent reception zones. The cremation facilities, which are also accessible to the public, were given a very specific design.

 © Serge Brison

(Serge Brison)

该项目的基石之一是将场地与自然环境结合起来。这包括结构的设计，它包含了巨大的从地板到天花板的窗户，向外延伸。过渡的概念是一个关键的建筑元素，这是突出的印象，建筑物是从地球上升。它也可以在屋顶的设计中看到，它与地形和谐地展开，在建筑物的足印上继续延伸，为露天地带提供与环境相一致的省级避难所。因此，景观的景观延伸到整个建筑物，这些建筑物组织、展示和汇集了各种周边空间。殡葬中心所在的自然地点有六公顷以上的土地，其中三块是建好的。该网站是精心开发的，与景观设计师埃里克·多特密切合作。进入中心后，交通以一种实用、敏感的方式组织起来此外，整个景观设计的构想是将遗址的各种功能(公墓、分散的草坪、休息区、火葬场和原始自然地点及其特定的生物场)组合成一个精心组成的整体，每个区域似乎都以一种简单、自然和宁静的方式放置在那里。不同类型的墓葬场所也经过深思熟虑的设计，还有陈设和标志。按照他的艺术整合的方法，这是他从职业生涯一开始就提倡的，丹尼尔·德蒂埃请尼古拉斯·科扎基斯加入他的设计过程。他的参与导致设计元素出现在中心的天花板和火葬炉的墙壁上。

One of the cornerstones of the project is the integration of the site into the natural environment. This includes the design of the structure, which incorporates vast floor-to-ceiling windows that give onto the outside. The concept of transition is a key architectural element, which is underscored by the impression that the buildings are rising from the earth. It can also be seen in the design of the roof, which « unfurls » in harmony with the topography and continues out over the footprint of the buildings, provinding shelter for open-air zones in continuity with the environment. Views of the landscape thus extend throughout the buildings, which organise, reveal and bring together the various peripheral spaces. The natural site where the funeral centre is located consits of more than six hectares of land, three of which were built. The site was developed very carefully, working in close collaboration with landscape architect Erik Dhont. Upon entering the centre, circulation is organised in a functional, sensitive manner – access roads lined with banks of indigenous species lead visitors to parking areas. In addition, the entire landscape design was conceived to bring together the site’s various functions (cemetery, scattering lawns, rest areas, crematorium and the original natural site with its specific biotope) into a carefully-composed whole where each area appears to have been placed there in a simple, natural and « serene » manner. The various types of burial places have also been thoughtfully designed, along with the furnishings and signage. In keeping with his approach of artistic integration, which he has advocated since the very beginning of his career, Daniel Dethier asked Nicolas Kozakis to join his team in the design process. His participation resulted in design elements that appear on the centre’s ceiling and on the walls of the cremation ovens.

 © Serge Brison

(Serge Brison)

在殡葬中心进行艺术干预是一种特殊的挑战，特别是在考虑到遗址的悲哀方面、其象征的丰富性和广泛的多元文化传统时。此外，还存在着开发一些传统的东西的危险，因为害怕分发访问者而退缩。通过在建筑群天花板上画出31颗发光的星星，尼古拉斯·科扎基斯成功地克服了这些担忧，并创造了一个丰富的、诗意的和当代的愿景。科扎基斯解释说：“是丹尼尔·德蒂埃邀请我参与这个项目。我首先考虑了一种涉及切割钻石结构的设计。后来，该项目转向星座的概念。通过其巨大的大小，动量和接近，所有的恒星，都是不同的，吸引观众进入一个密切的关系。这是装饰的反面。对我来说，这是一个天空的图像，超越任何教派的考虑，代表一条通道。我还在火化炉的两侧放置了星星，以配合丹尼尔·德蒂埃想象的设计。“应该强调与建筑关系的质量。他成功地将他的工作整合到了项目设计者开发的概念中。他和他们一起设计了一个反射表面的天花板，这种表面可以提供间接的照明，而不需要任何光源。利用建筑师推荐的发光材料，Kozakis能够利用光技术计算来确定绘画的理想位置。这种构图似乎浮在上面；利用墙壁上部的透明度，Kozakis允许恒星从内部向外部漂移，形成一条无穷的链，引导观众的目光从一幅画到另一幅画。

Artistic intervention in a funeral centre is a particular type of challenge, especially when considering the sorrowful aspect of the site, its symbolic richness and the wide range of multicultural traditions. Futhermore, there is the danger of developing something « conventional », of holding back for fear of distributing the visitor. By painting thirty-one glowing stars on the complex’s ceiling, Nicolas Kozakis succeeded in overcoming these concerns and created a rich, poetic and contemporary vision. Kozakis explains: "It was Daniel Dethier who invited me to work on this project. I first considered a design that involved a cut diamond structure. Later, the project shifted towards the concept of a constellation. Through their monumental size, momentum and proximity, the stars, which are all different, draw the viewer into a close rapport. This is the opposite of decoration. For me, it is an image of a sky that, beyond any denominational considerations, represents a passageway. I also placed stars on the sides of the cremation ovens, to fit in with the design imagined by Daniel Dethier. " The quality of the relationship with the architecture should be underscored. He succeeded in integrating his work into the concepts developed by the project's designers. He worked with their desire to design a ceiling with reflecting surfaces that would provide indirect lighting without any light sources being visible. Using the iridescent material that the architects recommended, Kozakis was able to utilise light technology calculations that defined the ideal location for the paintings. The composition appears to float above the place; taking advantage of the transparency of the upper sections of the walls, Kozakis allows the stars to drift from the interior to the exterior in an infinite chain that leads the viewer's eye from one painting to the next.