凯代尼艾火葬场，凯代尼艾，立陶宛

建筑设计：金陶塔斯·纳特凯维丘斯，阿多玛斯·里姆谢利斯Architects： Gintautas Natkevicius， Adomas Rimselis

凯代尼艾火葬场，凯代尼艾，立陶宛

建筑设计：金陶塔斯·纳特凯维丘斯，阿多玛斯·里姆谢利斯
Architects： Gintautas Natkevicius， Adomas Rimselis

1 入口立面/The entrance facade

曾在两次世界大战之间提出过的火葬场建设计划，直至今日才得到真正的实现——立陶宛终于拥有了第一个火葬场。当时的计划仅仅实现为考纳斯医院中用于减少医疗废物的一座火化炉，而在立陶宛不断增加的火化习俗，使得人们只能前往拉脱维亚和波兰以获得火葬服务。

尽管热情高涨，为立陶宛实现第一座火葬场的过程也并非易事。直到2011年，才最终摆脱了来自天主教思想和虚伪政治家的重重束缚，并克服了环境法规及相关立法不完善或缺失的阻碍，并促使凯代尼艾火葬场主、专家和环境学者得以发挥所长。

建设场地：凯代尼艾是位于立陶宛中部的工业城镇，居民31，000人。建筑选址于工业园区中，被毫无秩序与美感可言的工厂环绕，制糖厂、化肥厂的烟囱喷出浓烟，所处环境实在嗅不到丝毫神圣气息。

设计之初我们深入分析了其他国家的经验，从火葬场设计的案例中获得启发，譬如：柏林特雷普托火葬场，德累斯顿火葬场以及由伊东丰雄设计的日本岐阜火葬场。这些案例的动人之处在于通过大尺度的纪念性建筑组织启发性空间叙事，然而立陶宛凯代尼艾这座火葬场的情况却截然不同——仅有770m2的小尺度建筑几乎难以创造任何具有神圣诗意的空间剧目。

粗陋的工业环境，反而激发起通过极少主义的、甚至带有禁欲气息的空间描绘进行叙事的想法。建筑仅有一层，内外部空间特质均通过混凝土表皮进行塑造，并建立起统一性。建筑具有高度内向性，以与周围工业环境保持距离并加以区分，就连令人不悦的烟囱也被隐藏到建筑体量内部。方案的核心在于创造出一个内部的日式庭院空间，主入口前还种有一棵幼年钟摆形榆树。庭院营造出一个私密空间，同时也成为进入建筑前的聚集场所。身处院落内部的感受通过视觉手段加以拓展，如同情绪过滤器一般将人的压力与紧张缓解、驱散。

火葬场内部空间序列：庭院-休息接待厅-两座遗体处理厅-火化大厅，还配有一间带有烟囱的火化设备室。室内使用了4种表皮材料：混凝土、胶合木板、铝合金玻璃以及白色抹灰。通过极其节制的室内设计，逝者家属能够在处于此地的短暂、凝重而肃穆的片刻中获得精神的集中，而不被不必要的色彩和细节干扰。每个人及其面部表情都成为建筑内部的重要组成部分。

知名德国公司IFZW为该项目提供了3个层级的现代化火化与废气净化设备，以应对严苛的环境要求。建筑完全适于双线操作的火化流程。□（陈茜 译）

2 面向主入口的内庭院/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 Kėdainiai crematorium， as well as their doctor and environmentalist allies showed their strength throughout this process.

The crematorium is situated in Kėdainiai， 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 Kėdainiai， 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.□

评论

丁垚：该建筑作为立陶宛第一座火葬场，具有重要社会意义。建筑师却努力使其呈现出一个扁平的混凝土“盒子”的形象，具体体现在延展侧立面的长度，并在入口庭院等处着力使用“乱窗”的视觉表达，使得在主入口视角上宣示火葬场功能的烟囱“消隐”。此般在视觉上弱化其功能性，是为了强化更纯粹的精神性的空间氛围。而这种空间氛围显然是营造给参与仪式的“活着”的人的。不过，对于逝者最大的慰藉应该也莫过于在世者最真诚的悼念了吧。

袁野：作为立陶宛的第一座火葬场，这个仅有770m2的小建筑呈现出令人惊讶的从容与平和的气质。如同乐曲的第一个音，入口庭院无疑是为整个建筑定调的关键。有方形孔洞的混凝土墙体和落地玻璃幕墙围蔽着如同自家后院般尺度的空间，玻璃的镜面反射更是扩大了空间的视域，因失去亲人的悲伤而导致的压抑氛围得以舒缓。孤植的幼树显然没有渲染悲凉的感觉，反而具有隐喻“天堂”的微妙象征意味。室内极为克制的材料处理令空间产生肃穆而平和的效果，大片的空白让空间成为背景，仪式成为主角。最终，这个建筑通过对尺度和材料恰如其分的把握，达到了一种亲切与神圣的精妙平衡。

3 首层平面/Floor 0 plan

4 遗体安放室内景/Interior view of the final disposition

5 休息室/Lobby

6 横剖面/Cross section

7 纵剖面/Longitudinal section

项目信息/Credits and Data

结构工程师/Structural Engineering： JSC CONSTR， Adomas Sabaliauskas/JSC KONSTRUKTORIU CECHAS， Kestutis Matijosaitis

灯光设计/Lightning： PROMODUS IO

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

建筑面积/Floor Area： 775m2

建成时间/Completion： 2011

摄影/Photos： G.Česonis

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 kėdainiai， Kėdainiai， Lithuania， 2011