架构师提供的文本描述。墓地一直是，而且现在仍然是社会的反映：它们提供了对集体和个人之间关系、当时的社会环境、整个自然场景、丧葬文化以及设计和景观建筑领域的发展的洞察力。

Text description provided by the architects. Cemeteries have always been, and still are, reflections of society: they provide an insight into the relationship between the collective and the individual, the social environment of the time, the overall natural scene, the funerary culture and developments in the field of design and landscape architecture.

 Courtesy of Karres en Brands

卡雷斯·恩·布兰兹(Karres En Brands)

Karres和Brands为阿姆斯特丹Nieuwe Ooster公墓的纪念花园设计了一个图案，这是荷兰最大的公墓(按坟墓数量计算)。Nieuwe Ooster被分为三个阶段：1889年、1915年和1928年。第一期和第二期由伦纳德·斯普林格设计。这些部分都有着清晰的空间质量，但第三阶段并不具有这种质量。它与斯普林格的风格相似，但并不相同。适应和扩展使它失去了结构和身份。纪念之园就在这个阶段。

Karres and Brands created a design for the garden of remembrance of the Nieuwe Ooster cemetery in Amsterdam, the largest cemetery (in terms of numbers of graves) in the Netherlands. The Nieuwe Ooster was laid out in three phases: in 1889, 1915 and 1928. The first and second phases were designed by Leonard Springer. These sections have a clear spatial quality all of their own, but the third phase does not share this quality. It bears a resemblance to the style of Springer, but is not the same. Adaptations and expansions have left it devoid of structure and identity. The garden of remembrance lies within this phase.

 © Areal Shooting

(C)AReal射击

与其在空间上将这三个区域连接起来，我们还发现有必要给每个区域各自独立的身份。通过增加对比，实现了墓地的三重划分，从而提高了每个区域的质量。为第三阶段创造了新的身份。这里要求进行有力但简单的干预。基础是具有不同宽度的平行条的区域，每个带都有自己的设计原则。在这种明确的结构中，个人愿望的选择是可能的。其中一些带包括树篱，这些树篱将区域划分成空间隔间。现有的墓地和纪念花园被纳入区域，就像房间有绿色的边缘。桦树松散地分布在整个地区。一个伸长的池塘和一个瓮墙形成了空间口音，也是火葬骨灰的特殊目的地。

Instead of spatially linking the three zones, we found it necessary to give each area its own separate identity. By increasing the contrasts, a clear triple division of the cemetery is brought about, so that the qualities of each individual zone are enhanced. A new identity has been created for the third phase. A robust but simple intervention was called for here. The basis is a zone with parallel strips of varying widths, each with its own design principle. Within this unambiguous structure, choices are made possible for individual wishes. Some of the strips include hedges that divide the zone into spatial compartments. The existing graveyards and the garden of remembrance are incorporated into the zone like rooms with green edges. Birch trees are loosely spread throughout the zone as a whole. An elongated pond and an urn wall form spatial accents, and a special destination for cremation ashes.

 ©  Jeroen Musch

c.Jeroen Musch

Karres和Brands还在阿姆斯特丹Nieuwe Ooster公墓设计了一个殡仪馆-一个存放殡仪馆的地方-作为Reme-Brance火葬场的一个组成部分。

Karres and Brands also has designed a columbarium – a place for storing funeral urns – as a component of the crematorium garden of remem- brance at the Nieuwe Ooster cemetery in Amsterdam.

 ©  Jeroen Musch

c.Jeroen Musch

就像我们不断变化的社会一样，围绕着埋葬死者的习俗和仪式也在不断地变化。人们对骨灰盒坟墓的需求不断增加，这为人们创造了一个墓穴，在火葬场的新结构中形成了一个重要的空间重音。这座建筑构成了构造该地区的地带之一，并为1，000个骨灰盒提供了场所。墓穴是一个拉长的体积，由路径解剖。

 Like our changing society, the customs and rituals surrounding the burial of the dead continually endure change. The increasing demand for urn graves presented the opportunity to create a columbarium which forms an important spatial accent in the new structure of the crematorium’s garden of remembrance. The building forms one of the strips that structure the area, and provides places for 1,000 urns. The columbarium is an elongated volume dissected by pathways.

 ©  Jeroen Musch

c.Jeroen Musch

以这种方式建造的建筑物的各个部分是通过外墙和屋顶的倾斜线连接起来的。在这个空间里，有许多用来容纳这些骨灰盒的房间被掏空了。从建筑物的外面-120米长，5米宽，5米高-看起来像一个内向而结实的锌雕塑。从内部，房间形成封闭的，和平的白色内部。在房间里，游客可以避开周围的环境，只有白色的水磨石墙和天空是可见的。一个单一的和双重的壁龛模式被掏空出墙壁。在某些关键点，有一些特殊的壁龛，墙上的开口提供了对周围环境的一瞥，并让光线进来。

The separate elements of the building created in this way are linked by slanted lines in the exterior walls and roof. A number of rooms to house the urns are hollowed out within the volume. From the outside of the building - which is 120 metres long, 5 metres wide and 5 metres high - has the appearance of an introverted and robust zinc sculpture. From the inside, the rooms form enclosed, peaceful white interiors. Within the rooms visitors are sheltered from the surroundings, only the white terrazzo walls and the sky are visible. A pattern of single and double niches is hollowed out of the walls. At certain key points there are special niches where openings in the walls offer a glimpse of the surroundings and let in light.