架构师提供的文本描述。今年，在新东区公墓，荷兰的第一座伊斯兰殡仪馆实现了，设施齐全，有尊严的告别和埋葬。在它旁边的新的伊斯兰公墓也是荷兰最大的，一般的伊斯兰墓地，有大约1400个坟墓的空间。这座建筑是由阿姆斯特丹建筑公司AtelierPUUUR设计的。

Text description provided by the architects. On The New Eastern Cemetery this year the first Islamic funeral building in the Netherlands is realized with full facilities allowing a dignified farewell and buriying. The new Islamic cemetery next to it is also the largest, general Islamic burial place in the Netherlands, with space for about 1400 graves. The building was designed by the Amsterdam architecture firm Atelier PUUUR.

 © Furkan Köse

(F)Furkan K se

新的伊斯兰公墓位于新东方公墓的西南角，新的，第二个入口在罗森伯兰。有助于伊斯兰葬礼仪式的许多功能的展馆。从项目一开始，不同族裔的穆斯林组织就参与了这一发展。值得注意的是，他们第一次团结在阿姆斯特丹伊斯兰葬礼(Piba)平台上，那里有土耳其、摩洛哥、苏里南、印度尼西亚和巴基斯坦穆斯林的代表。

The new Islamic cemetery located in the southwest corner of the New Eastern Cemetery, with the new, second entrance on the Rozenburglaan. The pavilion that facilitates to a number of functions for Islamic burial rituals. From the beginning of the project Muslim organizations of diverse ethnicities were involved in the development. Notably they all are united for the first time, in the Platform Islamic Burial Amsterdam (PIBA), where Turkish, Moroccan, Surinamese, Indonesian and Pakistani Muslims are represented.

 © Furkan Köse

(F)Furkan K se

荷兰和阿姆斯特丹的穆斯林建造了一个私人殡仪馆，以满足伊斯兰葬礼所需的设施，从而为穆斯林社区的融合形成了一个标志。这个地方的出现是对阿姆斯特丹城市和穆斯林社区的重要贡献。这座建筑的模型最近被列入阿姆斯特丹[历史]博物馆的收藏。

With the construction of this place for Dutch and Amsterdam Muslims with a private funeral building, which meets the required facilities for the Islamic burial rites, a marker is formed for the integration of the Muslim community. The advent of this place is an essential contribution to the city and the Muslim community in Amsterdam. The model of the building has recently been included in the collection of the Amsterdam [History] Museum.

 © Teo Krijgsman

C.Teo Krijgsman

麦加的设计原则是公园内的轴线和对麦加的定位。这两个方向提供的角度扭曲，这是可见的正面。由此形成的三角形空间充当内外之间的中介作用。公园、室外空间和室内空间之间的空间关系是必不可少的。它们之间的过渡是以渐进的方式进行的，通过引入半封闭的室外空间，内部和外部空间之间没有硬边界。

Mecca Principles for the design are the axes in the park and the orientation to Mecca. These two directions provide angular contortion which is visible in the facades. The triangular spaces formed by this act as an intermediary between inside and outside. The spatial relationship between the park, the outdoor spaces and the interior is essential. The transitions between them are kept in a gradual manner, by the introduction of the semi-enclosed outdoor spaces there are no hard boundaries between interior and exterior spaces.

 © Teo Krijgsman

C.Teo Krijgsman

麦加定向是用来给展馆一种特殊的空间感知。展馆有一个封闭的特点，以确保所需的亲密关系。在正方形，正面向内折叠，并邀请进入建筑物。在另一方面，后面的正面完全打开公墓花园通过大的窗户和门。

The Mecca-orientation is used to give the pavilion a special, spatial perception. The pavilion has a closed character that ensures the desired intimacy. On the square side, the front folds inward and invites to enter the building. On the other hand, the rear facade opens entirely at the cemetery garden through large windows and doors.

 © Teo Krijgsman

C.Teo Krijgsman

天堂-中央祈祷大厅，俯瞰墓地花园中长长的水平轴。除了祈祷之外，还可以利用这一空间，供家人和朋友个人致敬，这可能是荷兰葬礼传统的一部分。紧邻人体洗涤空间的庭院，是对天堂花园的借鉴，在建筑中形成了一个垂直的、宁静的位置。公墓花园的水平视图与天空的垂直视图并置-指的是与天堂相对的地球。这棵以古兰经命名的大橄榄树，象征着和平、爱、信念、力量、胜利和对未来的积极憧憬。

Paradise The central prayer hall overlooking the long, horizontal axis in the cemetery garden. This space can also be used in addition to the prayer, for personal homage by family and friends, which may be incorporated from the Dutch funeral traditions. The patio adjacent to the body washing space, is a reference to the paradise garden and forms a vertically oriented, tranquil location in the building. The horizontal view of the cemetery garden is juxtaposed with the vertical view of the sky - referring to the earthly opposite the heavenly. The large olive tree, which is named in the Quran, is a symbol of peace, love, faith, strength, victory and positive vision for the future.

 © Teo Krijgsman

C.Teo Krijgsman

自然光是设计中有意识的一部分。就像大厅里弥漫着天窗，让建筑的中心以一种柔和的方式被点燃。在正门和庭院花园的露台上，阳光从屋顶的洞中进入，确保这些空间始终被照亮。因此，进入大楼的游客总是朝灯光走去。

Natural light is a conscious part of the design. Like the main hall with diffuse skylights allowing the heart of the building being lit in a soft way. In the patios both at the main entrance and patio garden, the sunlight enters through the holes in the roof inside and ensures that these spaces are always lit. Hereby the visitors entering the building always walk towards the light.

 © Teo Krijgsman

C.Teo Krijgsman

土耳其的石灰华正面夹在白色预制混凝土正面之间。展馆从地面上稍微抬起，使建筑物看起来更轻和漂浮。

The Turkish travertine facades are sandwiched between white precast concrete facade elements. The pavilion is slightly lifted from the ground, making the building look lighter and floating.

 © Furkan Köse

(F)Furkan K se

在建筑的设计阶段，与美术艺术家雷姆·波塞乌玛合作，为前面的外墙设计了一幅墙上镶嵌的陶瓷作品。这种密切的、早期的合作，尤其是艺术作品与门面很好地结合在一起，是对伊斯兰装饰品的借鉴。无限连续的模式是指灵魂的无限大，因为伊斯兰教是建立在审判日人类普遍复活的基础上的。

Infinity Already in the design phase of the building, a wall mosaic of ceramics is developed for the front façade, in collaboration with fine art artist Rem Posthuma. This kind of close and early cooperation is particularly, hereby the work of art is well integrated into the facade and is a reference to the Islamic ornamentation. The infinitely continuous patterns are a reference to the infinity of the soul, since Islam is based on a general resurrection of mankind on the Day of Judgement. 

 © Furkan Köse

(F)Furkan K se

放置在入口处，形成了认可点，并邀请人们从远处和近距离观看和探索。墓地花园是由Karres en Brands景观建筑师设计的。花园中央的长轴指向麦加的方向，并无缝地融入了建筑的内部-主大厅。

Placed next to the entrance this forms the point of recognition and invites being viewed and explored from a distance and up close. The cemetery garden was designed by Karres en Brands Landscape Architects. The long axis in the middle of the garden pionts in the direction of Mecca, and integrates seamlessly into the interior - the main hall - the building.