建筑設(shè)計(jì)：金陶塔斯·納特凱維丘斯，阿多瑪斯·里姆謝利斯Architects： Gintautas Natkevicius， Adomas Rimselis

凱代尼艾火葬場(chǎng)，凱代尼艾，立陶宛

建筑設(shè)計(jì)：金陶塔斯·納特凱維丘斯，阿多瑪斯·里姆謝利斯
Architects： Gintautas Natkevicius， Adomas Rimselis

1 入口立面/The entrance facade

曾在兩次世界大戰(zhàn)之間提出過的火葬場(chǎng)建設(shè)計(jì)劃，直至今日才得到真正的實(shí)現(xiàn)——立陶宛終于擁有了第一個(gè)火葬場(chǎng)。當(dāng)時(shí)的計(jì)劃僅僅實(shí)現(xiàn)為考納斯醫(yī)院中用于減少醫(yī)療廢物的一座火化爐，而在立陶宛不斷增加的火化習(xí)俗，使得人們只能前往拉脫維亞和波蘭以獲得火葬服務(wù)。

盡管熱情高漲，為立陶宛實(shí)現(xiàn)第一座火葬場(chǎng)的過程也并非易事。直到2011年，才最終擺脫了來自天主教思想和虛偽政治家的重重束縛，并克服了環(huán)境法規(guī)及相關(guān)立法不完善或缺失的阻礙，并促使凱代尼艾火葬場(chǎng)主、專家和環(huán)境學(xué)者得以發(fā)揮所長(zhǎng)。

建設(shè)場(chǎng)地：凱代尼艾是位于立陶宛中部的工業(yè)城鎮(zhèn)，居民31，000人。建筑選址于工業(yè)園區(qū)中，被毫無秩序與美感可言的工廠環(huán)繞，制糖廠、化肥廠的煙囪噴出濃煙，所處環(huán)境實(shí)在嗅不到絲毫神圣氣息。

設(shè)計(jì)之初我們深入分析了其他國(guó)家的經(jīng)驗(yàn)，從火葬場(chǎng)設(shè)計(jì)的案例中獲得啟發(fā)，譬如：柏林特雷普托火葬場(chǎng)，德累斯頓火葬場(chǎng)以及由伊東豐雄設(shè)計(jì)的日本岐阜火葬場(chǎng)。這些案例的動(dòng)人之處在于通過大尺度的紀(jì)念性建筑組織啟發(fā)性空間敘事，然而立陶宛凱代尼艾這座火葬場(chǎng)的情況卻截然不同——僅有770m2的小尺度建筑幾乎難以創(chuàng)造任何具有神圣詩(shī)意的空間劇目。

粗陋的工業(yè)環(huán)境，反而激發(fā)起通過極少主義的、甚至帶有禁欲氣息的空間描繪進(jìn)行敘事的想法。建筑僅有一層，內(nèi)外部空間特質(zhì)均通過混凝土表皮進(jìn)行塑造，并建立起統(tǒng)一性。建筑具有高度內(nèi)向性，以與周圍工業(yè)環(huán)境保持距離并加以區(qū)分，就連令人不悅的煙囪也被隱藏到建筑體量?jī)?nèi)部。方案的核心在于創(chuàng)造出一個(gè)內(nèi)部的日式庭院空間，主入口前還種有一棵幼年鐘擺形榆樹。庭院營(yíng)造出一個(gè)私密空間，同時(shí)也成為進(jìn)入建筑前的聚集場(chǎng)所。身處院落內(nèi)部的感受通過視覺手段加以拓展，如同情緒過濾器一般將人的壓力與緊張緩解、驅(qū)散。

火葬場(chǎng)內(nèi)部空間序列：庭院-休息接待廳-兩座遺體處理廳-火化大廳，還配有一間帶有煙囪的火化設(shè)備室。室內(nèi)使用了4種表皮材料：混凝土、膠合木板、鋁合金玻璃以及白色抹灰。通過極其節(jié)制的室內(nèi)設(shè)計(jì)，逝者家屬能夠在處于此地的短暫、凝重而肅穆的片刻中獲得精神的集中，而不被不必要的色彩和細(xì)節(jié)干擾。每個(gè)人及其面部表情都成為建筑內(nèi)部的重要組成部分。

知名德國(guó)公司IFZW為該項(xiàng)目提供了3個(gè)層級(jí)的現(xiàn)代化火化與廢氣凈化設(shè)備，以應(yīng)對(duì)嚴(yán)苛的環(huán)境要求。建筑完全適于雙線操作的火化流程。□（陳茜 譯）

2 面向主入口的內(nèi)庭院/Inner courtyard， facing the main entrance

This is the first crematorium in Lithuania. The idea to build a crematorium was first put forth in the interwar period， but at that time， only an incinerator for medical waste in Kaunas Hospital was built. Until recently， the increasing interest for cremations in Lithuania meant that Lithuanians had to use cremation services in Latvia and Poland.

To clear a path for the first crematorium in Lithuania was not easy. Despite the great enthusiasm，there was opposition due to the predominant Catholic mindset and political hypocrisy； the lack of and the imperfections in existing environmental and other laws were overcome only in 2011. The owners of K?dainiai crematorium， as well as their doctor and environmentalist allies showed their strength throughout this process.

The crematorium is situated in K?dainiai， an industrial town with 31，000 inhabitants， located in the geographical center of Lithuania. As an industrial park was chosen as the building's backdrop， it is surrounded by a chaotic， unaesthetic industrial typology： sugar mills， fertilizer factories with smoky chimneys， and therefore the surroundings do not really convey the sense of a sacred place.

At the beginning of the design process， precedents were analyzed from other countries； inspiring examples of crematoria such as the Treptow Crematorium in Berlin， the Dresden Crematorium， and a crematorium designed by Toyo Ito in Gifu， Japan. These examples were large， impressive， and monumental edifices with an inspiring program. However， the crematorium in K?dainiai， a small building of 770 square meters， meant there was almost no place to create sacred script.

The unaesthetic industrial environment provoked the designers to create a minimalistic and even ascetic approach. This one storey building was created with concrete surfaces with an external and internal quality and unity. In order to distance itself from its industrial context， the crematorium was designed to look inward， like an introvert. Even the chimney， which may cause bad feelings， is hidden within the volume of the building. The main goal of the program was to create an inner Japanese-style courtyard with a growing pendulum elm facing the main entrance. The courtyard creates an intimatespace， an accumulation zone before one enters the building. Reaching the courtyard， the constrained space appears visually expanded. It creates an emotional filter to reduce the mourner's stress.

The crematorium's interior program is composed of the central courtyard， a lobby with resting area， two final disposition halls， a cremation hall， and a cremation equipment room with chimney. The interior is created with four surfaces：concrete， wood veneer， glass with aluminum， and white plaster. The ascetic interior allows families to concentrate on their grief with no interference of colors or detail. Every mourner and their face becomes a very important part of the interior.

Three levels of modern cremation exhaust air cleaning equipment， conforming to the strictest environmental requirements， was produced by the prolific German firm IFZW. The building is fully equipped for two line cremation.□

評(píng)論

丁垚：該建筑作為立陶宛第一座火葬場(chǎng)，具有重要社會(huì)意義。建筑師卻努力使其呈現(xiàn)出一個(gè)扁平的混凝土“盒子”的形象，具體體現(xiàn)在延展側(cè)立面的長(zhǎng)度，并在入口庭院等處著力使用“亂窗”的視覺表達(dá)，使得在主入口視角上宣示火葬場(chǎng)功能的煙囪“消隱”。此般在視覺上弱化其功能性，是為了強(qiáng)化更純粹的精神性的空間氛圍。而這種空間氛圍顯然是營(yíng)造給參與儀式的“活著”的人的。不過，對(duì)于逝者最大的慰藉應(yīng)該也莫過于在世者最真誠(chéng)的悼念了吧。

袁野：作為立陶宛的第一座火葬場(chǎng)，這個(gè)僅有770m2的小建筑呈現(xiàn)出令人驚訝的從容與平和的氣質(zhì)。如同樂曲的第一個(gè)音，入口庭院無疑是為整個(gè)建筑定調(diào)的關(guān)鍵。有方形孔洞的混凝土墻體和落地玻璃幕墻圍蔽著如同自家后院般尺度的空間，玻璃的鏡面反射更是擴(kuò)大了空間的視域，因失去親人的悲傷而導(dǎo)致的壓抑氛圍得以舒緩。孤植的幼樹顯然沒有渲染悲涼的感覺，反而具有隱喻“天堂”的微妙象征意味。室內(nèi)極為克制的材料處理令空間產(chǎn)生肅穆而平和的效果，大片的空白讓空間成為背景，儀式成為主角。最終，這個(gè)建筑通過對(duì)尺度和材料恰如其分的把握，達(dá)到了一種親切與神圣的精妙平衡。

3 首層平面/Floor 0 plan

4 遺體安放室內(nèi)景/Interior view of the final disposition

5 休息室/Lobby

6 橫剖面/Cross section

7 縱剖面/Longitudinal section

項(xiàng)目信息/Credits and Data

結(jié)構(gòu)工程師/Structural Engineering： JSC CONSTR， Adomas Sabaliauskas/JSC KONSTRUKTORIU CECHAS， Kestutis Matijosaitis

燈光設(shè)計(jì)/Lightning： PROMODUS IO

家具制造/Furniture Manufacturer： JSC DEVERUS， Jonas Noreika

建筑面積/Floor Area： 775m2

建成時(shí)間/Completion： 2011

攝影/Photos： G.?esonis

Comments

DING Yao: As the first crematorium in Lithuania，this building has great social significance. Its architect has managed to make it look like a flat concrete "box" by extending the length of its side elevation and visual expressing "arbitrary windows" at the entrance of the courtyard， so that the chimney， commonly representing a crematorium's function， is hidden in the volume of building. The approach to visually weakening its functionality is implemented here to emphasize a more purely spiritual atmosphere of the space， which has been created for the sake of living people. Anyhow，the greatest comfort to the dead is nothing but the sincere condolences of the living.

YUAN Ye: As the first crematorium in Lithuania， this small building of 770 square meters has a surprisingly calm and peaceful temperament. The main entrance courtyard is key to setting the tone for the entire building，like the first note of a musical composition. The concrete wall， with its square holes， and the full-height curtain wall encloses the space at an intimate scale， like one's backyard. The specular reflection of the glass expands and lightens the atmosphere， so that the repressive feelings caused by the loss of loved ones can be relieved. The solitary sapling in the courtyard apparently does not intend to render the feeling of sadness， but rather， it suggests a subtle metaphor of "paradise". The extremely restrained usage of indoor materials helps to makes the space silent and calm. The bare expanses of space fade into the background， making ritual the protagonist. Ultimately， this building achieves an exquisite balance between the cordial and the divine， through the assurance of appropriate dimensions and materials.

Crematorium in k?dainiai， K?dainiai， Lithuania， 2011