项目组Nick Potts，AIA，Michael Koch，AIA，Eric Amel，AIA，Steve Philippi，Jay Lane，Robert Johnson Miller，Ross Althemer，ASLA结构工程师Paul Asp，PE，Son Sim Hake，PE机械工程师Craig LIMA，电气工程师Ben Gutierrez，土木工程师Jim Husnik，PE照明设计师桃Ham Interiors RichBonnin，Amy Ciani平面设计Gretta Fry的客户Ron Gjerde，总裁莱克伍德公墓业主莱克伍德公墓协会制造商装货.多规格少规格

Project Team Nick Potts, AIA, Michael Koch, AIA, Eric Amel, AIA, Steve Philippi, Jay Lane, Robert Johnson Miller, Ross Altheimer, ASLA Structural Engineer Paul Asp, PE, Soon Sim Hakes, PE Mechanical Engineer Craig Lemma Electrical Engineer Ben Gutierrez Civil Engineer Jim Husnik, PE Lighting Designer Tao Ham Interiors Rich Bonnin, Amy Ciani Graphic Design Gretta Fry Client Ron Gjerde, President, Lakewood Cemetery Owner Lakewood Cemetery Association Manufacturers Loading... More Specs Less Specs

 © Paul Crosby Photography

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架构师提供的文本描述。自1871年成立以来，明尼阿波利斯的莱克伍德公墓一直是明尼苏达州杰出市民最重要的安息之地。像汉弗莱、威尔斯通、皮尔斯伯里和沃克这样熟悉的名字都在这里，他们列在一长串本地先锋、英雄、公民领袖、实业家和艺术赞助人的名单中。这座私人的、非宗派的公墓占地250英亩，毗邻城市历史悠久的大圆圈公园系统。莱克伍德公墓的历史重要性和无可挑剔的修剪地，使它成为一个宝贵的地标和社区资产在城市的住宅区。

Text description provided by the architects. 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 neighborhood.

作为一种非营利的治理从一开始，莱克伍德公墓协会认识到，需要审慎的规划，以确保其活力，为无限期的未来。尽管莱克伍德的土地面积广阔，但仍有25英亩土地可供今后开发。由于一个现有的1967年陵墓接近能力(主要是由于人们对地面埋葬和火葬的接受和兴趣增加)，公墓董事会于2003年委托进行了一项全面的总体计划。

Governed as a non-profit from its beginning, the Lakewood Cemetery Association recognized 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. 

 © Paul Crosby Photography

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该计划的关键是建造一个新的陵墓，以扩大地下墓穴和火葬的选择范围，并容纳当代的纪念仪式和习俗。这个项目，一个新的“花园陵园”，需要一万多人的墓葬空间，一个承诺礼拜堂，一个非常需要的接待场所，以及四周四英亩土地的新景观。

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.  

面对着在一个非常受人喜爱的地方增加一座24500平方英尺的大型建筑的任务，霍恩·索兰诺(JoanSoranno)、法伊亚(FAIA)和约翰·库克(John Cook)-HGA建筑和工程师协会的FAIA-迅速致力于保护和改善墓地历史景观的战略。一座大建筑，无论多么巧妙，都必然会损害莱克伍德的田园美。经过广泛的现场分析，琼和约翰选择沿着1960年代“沉陷花园”的北缘找到这座建筑。通过将新的花园陵墓放置在西部现有的两层陵墓和1910年拜占庭风格的东面纪念礼拜堂之间，开发项目集中在墓地入口处附近的一个地点。这样做的好处是将大量的交通和基础设施合并到地面内的一个独立的区域，使绝大多数原始景观和关键景观不受干扰。

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-story 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. 

游客从主要入口门进入墓地，沿着墓地众多蜿蜒的道路之一进入新的花园陵墓。围绕着一大片高大的松树和古老的橡树，道路缓缓地向陵墓入口倾斜-从道路上掉头向后开一小段路。一堆简单的分割面灰色花岗岩，入口的凿的牧师窗口和倾斜的凹槽暗示了建筑物的内部功能和复杂性，同时减少了结构的视觉重量。

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. 

在入口的东面，在较低的花园层上种植了一个绿色的屋顶，无缝地将墓地修剪整齐的草坪延伸到一个新建的俯瞰处。最详细的栏杆，露台铺路，草，和朱尼尔灌木确保不间断的景观，如附近的教堂和标志性的弗里德利和彭斯纪念碑。虽然本质上是一片平坦的草坪，但整齐的角度的草堆点缀在新草坪上，就像极简式的地貌雕塑。这些投影包含了建筑物地下空间的天窗-这是向参观者提出的建筑物与景观融合的第一个建议。

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. 

 © Paul Crosby Photography

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街道一级的花园陵园入口仅占建筑总建筑的一小部分，包括接待室和休息室、小型商务办公室和餐饮设施。整个建筑的三分之二都在下面，静静地藏在朝南的小山里，俯瞰下花园。

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. 

在主入口，框架一对青铜门，错综复杂的图案白色马赛克瓷砖的痕迹弧线和无限环在滚滚表面整齐地刻在黑色花岗岩块。质感的对比-光与暗，粗糙与光滑，乡村与精致-呼吁视觉和触觉。巨大的玻璃门，用青铜格栅包裹着，重复着马赛克瓷砖的圆形图案，带游客进入了一个宁静的空间，里面是折叠的桃花心木墙，充足的阳光棱镜，以及一个新美化的低矮花园的远景。

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.  

 © Paul Crosby Photography

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一个规模庞大的楼梯吸引游客从入口进入较低的花园层。在西方，一堵威尼斯人抹灰墙指引哀悼者前往一个小礼拜堂举行送礼仪式。为了减轻承诺礼拜堂暴露在南方阳光下的风险，高高的窗户凹槽被深深地斜向厚厚的外墙-这种策略既能缓和光线进入沉思的空间，又能确保悲痛的家庭成员有一定程度的隐私。(鼓掌)

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.  

回到大厅，在粗糙的花岗岩墙上切开一个简单的广场，标志着陵墓活动空间和公共空间与埋葬、纪念和个人沉思场所之间的门槛。向东延伸，有一条长长的走廊串在一起，交替着墓穴(火化的遗骸)和墓室(用于棺材)。在北部，房间完全低于等级，每个房间都有一个天窗照明，地下室的长方形开口和圆形的圆形墓穴(Columbaria)。在这里，阳光的痕迹弧线横跨阿拉巴马白色大理石墙。在南面，突出的地窖和间隙的墓穴形成了一系列紧密相连的庭院，每一个空间都通过大窗户直接与下花园的景观相连。

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. 

 © Paul Crosby Photography

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虽然几何相似，每个室内房间和突出的房间是区别于微妙的设计变化，使每个空间有一个独特的个性和情绪。镶嵌地板发光的红玛瑙交替蜂蜜黄色，翡翠绿色，珊瑚粉红色。窗户和天窗的方向在房间旋转和移动，以不同的框架向近或远的地平线，直到树冠，或清澈的蓝天。该设计认识到，在思考死亡-就像在生命中一样-人们有着不同的视角和渴望的独特性。它尊重的是，在为一万人设计一个最后休息的地方时，个性、人的规模和与自然世界的感官联系是至高无上的。

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 recognizes 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. 

材料的选择借鉴了纪念建筑的传统以及莱克伍德自己的历史。传统的殡葬材料，如花岗岩，大理石和青铜被重新解释在21世纪的建筑表达。例如，彩色教堂马赛克，作为一个跳板，白色大理石和玻璃瓷砖图案，这是由于拜占庭和芝加哥学校的有机花边，因为它做的几何算法和葬礼的象征。

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. 

作为花园陵园项目的一个重要特征，重新设计这座占地四英亩的地块，加强了莱克伍德独特建筑之间的联系，同时也为小型家庭服务和大型社区活动提供了一个宁静的环境。礼拜堂、现有陵墓和新的花园陵园之间的正式关系由两排秋季烈火枫树、简单的走道和公园布置以及长方形倒影池来加强。此外，霍桑树林改善了东部现有的室外地窖墙，而多个外部楼梯改善了下花园与毗邻的历史墓地之间的通道。

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.  

 © Paul Crosby Photography

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莱克伍德花园陵墓，忠实于墓地的非宗派使命，从人类经验的最常见和不可磨灭的方面建立起它的意义-光明和黑暗的直接性，广场和圆圈的不可改变性，以及石头表面的回声。这是一座毫不掩饰的21世纪建筑，花园陵墓的设计不会让任何人对什么是旧的和什么是新的感到困惑。

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. 

在陵墓破土动工之前，莱克伍德的景观和它的小建筑校园就已经是一个很棒的地方了，因为它在那里-形成一个景观，完成一个边缘，拥抱着人类的规模。在这座城市中珍爱的避风港，建筑进步以优雅和新的活力迎接历史。

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. 

 © Paul Crosby Photography

保罗·克罗斯比摄影

Architects HGA Architects and Engineers

Location 3600 Hennepin Ave, Minneapolis, MN 55408, United States

Category Crypts & Mausoleums

Principal Dan Avchen, FAIA

Project Manager Steve Fiskum, AIA

Design Principal Joan M. Soranno, FAIA

Project Architect John Cook, FAIA

Area 0.0 ft2

Project Year 2012

Photographs Paul Crosby Photography

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