架构师提供的文本描述。帕尔马的新火葬庙位于瓦莱拉公墓以北，在这座公墓与新建的环形公路之间，距离城市以西约一公里。一方面是城市和环形公路，另一方面是乡村和瓦莱拉镇，标志着一种以殖民的百年历史和基本的罗马城市道路为特征的景观：在罗马的Domus，在道路和农场的布局中，在维可沃尔的罗马式建筑中仍然可以读懂的文明。

Text description provided by the architects. The new Temple of Cremation in Parma is located north of the Valera Cemetery, between this one and the newly built ring road, approximately one kilometer west of the city. On one side the city and the ring road, on the other one the countryside and the town of Valera, mark the references to a landscape characterized by the centuriale history of colonization and the basic Roman altomedievale roads: a civilization still readable in the Roman Domus, in the layout of roads and farms, in the Vicofertile’s Romanesque architecture.

 © Mauro Davoli

莫罗·达沃利

这两道篱笆之间的关系，无论是旧的还是已设计好的，以及它们与乡村和瓦莱拉镇之间的关系，都是该项目所要解决的主要问题。围栏是一种由建筑空间构成的篱笆，它被设计成一堵门廊墙，住着塞拉里，住着灰尘，在一条不间断的道路上，包含着生死攸关的关系。在理想连续性的意义上建立一种阅读方式。根据目前对现有墓地的使用情况，在现有墓地旁边的一个大矩形的形式下，可以从较近一侧的停车场到达拱廊，它包含了两个维度中间的层次结构，其建筑介质是圣殿本身。

The relationship between the two fences, old and designed and that between them, the countryside and the town of Valera is the main issue addressed by the project. The fence, a fence made of architectural space that designed as a porticoed wall and inhabited by Cellari containing dust, contains, in an uninterrupted path, the relationship between life and death, establishing a reading in the sense of the ideal continuity. In the form of a large rectangle which is next to the existing cemetery the arcade, which can be reached from a parking lot located on the closer side, according to the present use of the existing cemetery, contains the moments of a hierarchy, whose architectural medium is the Temple itself, in the middle of the two dimensions.

 © Mauro Davoli

莫罗·达沃利

这也在空间上标志着仪式的时间，在外部和内部之间，将死者及其家人在入口处、从撒灰花园到施工后的接收区域分开。

This also spatially marks the time of the rite, between exterior and interior, dividing the area where the deceased and their families is received, located near the entrance, from the Garden of sprinkling of ashes, and after construction.

 © Mauro Davoli

莫罗·达沃利

永乐堂是一个正方形，它的特点是背墙上的灯光垂直切割，这也是将身体转移到空间光线和技术环境的大门。这样，身体就在光线中消失了。十字架及其内部的仪式标志着不同时刻的空间层次，这些时刻都在不断地被重建。就像在一个永恒的循环从门廊，它包裹一切在一个无限和永恒的旅程。

The Hall of Farewell, a square, is characterized by a vertical cut of the light on the back wall which is also the gate to transition of the body to a zenithally room lit and technical environments. The body thus disappears in the light. The crossing, with its internal rituality marks the spatial hierarchy of the different moments, which is continually reconstructed, as in a cycle of eternity from the porch, which wraps everything in an infinite and timeless journey.

 © Mauro Davoli

莫罗·达沃利

这座庙宇出现在栅栏内，从远处和那些使用旁路的人都可以看到，比如一大块带有大教堂计划的碎片，前面有一个与南边和北面相似的大前厅，朝向瓦莱拉和帕玛。这一段作为一个发现，及时地暂停了这段通道的仪式，使它成为城市庆祝的一个大城市象征。以一种持续的方式，通过对死者的记忆来记忆自己。

The Temple emerges within the fence, visible from afar and from those who use the bypass, such as a large fragment with the basilica plan, preceded by a large prostyle similar to the south and north, towards Valera and Parma.This piece, cut as a finding, suspends in time the rite of the passage, making it one big urban symbol in which the city celebrates, in an incessant way, the memory of itself through the memory of its dead.