羅勃雷戈?duì)柖嗄箞@入口與骨灰龕，馬德里，西班牙

建筑設(shè)計(jì)：MUKA建筑師事務(wù)所Architects： MUKA Arquitectura

羅勃雷戈?duì)柖嗄箞@入口與骨灰龕，馬德里，西班牙

建筑設(shè)計(jì)：MUKA建筑師事務(wù)所
Architects： MUKA Arquitectura

1 全景/Panoramic view

2 門頭細(xì)部/Detail of gate canopy

馬德里山區(qū)中的羅勃雷戈?duì)柖嗄箞@，為滿足新增墓地的需求而進(jìn)行了入口與骨灰龕項(xiàng)目的建造。

墓園入口自修建后便缺少等待棺槨與骨灰運(yùn)送時(shí)的遮陽避雨空間?，F(xiàn)存的入口區(qū)域包含3個(gè)主要元素：入園大門；界定內(nèi)外部空間的、不規(guī)則花崗巖塊體砌筑的圍墻；對(duì)稱置于墓地入口處的兩棵柏樹。

提案不僅需要在預(yù)算緊張的狀態(tài)下擴(kuò)大墓園和增加21個(gè)新骨灰龕，還希望建造一個(gè)有遮蔽的入口，供使用者應(yīng)對(duì)惡劣天氣。

解決方案為花崗巖石墻上方架起一個(gè)白色的木模板澆筑混凝土體塊，并包含了第一排的7個(gè)骨灰龕。梁柱體系支撐的棚架在日間為舊石墻創(chuàng)造了戲劇性的光影變幻?；炷馏w塊與墻體是脫離的，使夜間為入口區(qū)域提供水平延展的照明成為可能。

作為悼念活動(dòng)的儀式性象征，一棵柏樹被保留在大門的一側(cè)。柏樹的豎向延展特征，與棚架的水平延展特征形成了強(qiáng)烈對(duì)比。這兩種元素分別置于入口兩側(cè)，在對(duì)比中強(qiáng)化了二者之間的張力。

通過屋頂元素的構(gòu)成與新舊向度對(duì)比的張力，新的混凝土體塊不僅塑造了主入口空間，同時(shí)也與置于墓園另一側(cè)的舊入口建立了新與舊的對(duì)話，對(duì)原有入口進(jìn)行了重新解讀。

混凝土體塊下方懸掛了兩排耐候鋼箱體，容納另外兩排各7個(gè)骨灰龕。鋼板箱體與舊石墻和混凝土板之間均脫開一定距離，再次強(qiáng)化了由材料異質(zhì)性所帶來的張力。

盡管材料各異，3排骨灰龕的幾何尺寸仍然保持一致。真正的骨灰龕封面從建筑立面上退進(jìn)一定深度，從而預(yù)留出置放花草的窗檻式長花箱，不僅可供小植物生長，還能容納各種各樣的花卉。

混凝土梁的寬度特征在耐候鋼箱體中被延續(xù)使用，演化為儲(chǔ)存清潔工具和骨灰龕內(nèi)植物澆灌用水的金屬置物箱。這一帶狀空間通過信箱式鎖具來保證儲(chǔ)存安全。

建造內(nèi)容最后還包含分置于墻體內(nèi)外側(cè)的兩條長椅，為使用者提供了觀望周圍風(fēng)景的休憩處。

經(jīng)過這些設(shè)計(jì)的巧思，新的骨灰龕滿足了墓園的擴(kuò)建需求，更在環(huán)境中建構(gòu)起一座與眾不同的新地標(biāo)?！酰愜?譯）

項(xiàng)目信息/Credits and Data

主持建筑師/Principle Architect： Moisés Royo Márquez

客戶/Client： 羅勃雷戈?duì)柖嗍姓d/Robregordo Townhall合作者/Collaborator： Patricia Bouzas

預(yù)算/Budget： 30，004.70 EUR

建成時(shí)間/Completion： 2012.01

攝影/Photos： Ricardo Santonja

3 入口/Entrance

Located in a mountain range north of Madrid，the project is located at Robregordo cemetery and satisfies the need for a new extension.

The access to the cemetery， before this current intervention， did not provide any covered areas to wait for the arrival of neither the coffin nor the funerary urns. The preexisting access consisted of three main elements： the entrance gate， a perimeter wall composed of irregular granite blocks delineating outside from inside， and two cypresses placed symmetrically at the entrance to the cemetery.

Working on a strict budget， the intent of this project was not only to enlarge the cemetery， but to erect twenty-one new columbaria and to also to offer a covered entrance for mourners， giving them refuge against the inclement weather.

The project is defined by a volume of white concrete form， worked with wood boards， and placed over the old granite stone wall. This volume acts as both a pergola and contains the first row of seven columbaria. A beam system supports this pergola， creating a light and shadow play over the old wall during the day. The concrete volume is separated from the wall， allowing a horizontal separation that provides illumination at night.

One of the cypresses remains on the other side of the gate， symbolizing mourning. The verticality of this cypress against the horizontal character of the pergola enhances the tension between these two elements on both sides of the entrance.

This new concrete volume not only emphasizes the main entry but also establishes a dialogue with the traditional entry on the other side of the cemetery， through its roof composition and the tension between the supports of both gate elements，new and old， offering a new interpretation of the original entrance.

From this volume， there also hangs a cortensteel box containing the next two rows of seven columbaria. It is separated not only from the old stone wall but also from the concrete slab，enhancing the tension between the elements made of different materials.

The three rows of columbaria have the same geometry， despite the different material used for each one. The surface that encloses each columbarium is set back from its fa?ade， allowing a ledge with enough space to place offerings such as flower bouquets and small plants.

The width of the concrete beams and the corten steel box is taken advantage of to provide lockers that allow the storage of cleaning utensils and a supply of water for the flowers and plants placed in the columbaria. The lockers have a mailbox-shaped lock for its safety.

The last intervention on the site consists of two benches placed on both sides of the wall， allowing mourners to rest while gazing at the surrounding landscape.

The new columbarium establishes a new landmark in its surroundings， and it also satisfies the need to enlarge the cemetery. □

4 置于花崗巖石墻上的門頭/Canopy lying on the granite wall

5 入口剖面/Section of entrance

6 門頭細(xì)部/Detail of gate canopy

評(píng)論

金秋野：建筑材料以毛石墻和混凝土為主，平展的懸挑和細(xì)細(xì)的鋼柱帶來了強(qiáng)烈的視覺印象。雖則如此，建筑的主要?dú)赓|(zhì)并不是紀(jì)念性，細(xì)看充滿了“設(shè)計(jì)趣味”，包括故意并置造型完全相同但材質(zhì)不同的3排骨灰箱、平面構(gòu)成般穿插替換的幾種材料、水平體量與豎向樹干的對(duì)比、預(yù)埋在縫隙中的水平照明，以及龕內(nèi)剛好能夠嵌入的植物種植箱。這些手法抵消了建筑應(yīng)有的肅穆特征。

劉晨：這天我來到荒無人跡的山中，看見一溜石砌的圍墻，大門緊閉。剛要推門進(jìn)去看個(gè)究竟，左上方一個(gè)聲音嚇我一跳：“生死場(chǎng)，閑人免進(jìn)”。順聲望去，一人坐在墻頭懸挑出的大龕沿兒上，兩條腿兒蕩在空中，很愜意。我問他在那兒干嘛，他說在跟死人拔河，墻那邊吊著棺柩，越來越多，他得在這頭用力，才能不被他們撬過去。我沒信這人的瘋話。很多年后，阿基米德還坐在那龕里，胡子垂到地上，周圍蔓草叢生。我有點(diǎn)兒明白了，他是在以生死之間那堵墻為支點(diǎn)，拿時(shí)間作力臂，才能巋然不動(dòng)。但我懷疑即便如此，生與死的較量也遠(yuǎn)非杠桿原理那么簡單。因?yàn)椤斑@樣的支點(diǎn)本來是沒有的”。

7 骨灰龕剖面/Section of columbarium

8 骨灰龕/Columbarium

9 入口立面/Front view， entrance

Comments

JIN Qiuye: Its building materials include both rubble walls and concrete. Flat cantilevers and fine steel columns create a strong visual impression. Despite this， the building is not a solemn memorial， but it is rather full of "design fun". This is expressed through deliberate juxtaposition， including three rows of columbaria with the same form yet made of totally different materials， materials that intersperse and interweave to make a single composition， the contrast of horizontal volumes and vertical trunks， horizontal lighting embedded in fissures， as well as planting boxes that inset into the columbaria. These techniques offset solemnity， which is the inherent characteristic of this type of building.

LIU Chen: One day I climbed up a deserted mountain and came upon a stone wall， its gate tightly shut. Intrigued， I tried to push open the gate to get a glance of the world inside. Just at that moment a strange voice from above stopped me： "no entry to the home of the departed！" I raised my head and saw a hoary man clad in rags sitting on the fringe of a deeply overhung alcove， his legs dangling cozily in the air. "What on earth are you doing there？" I asked. "Playing a tug-of-war game with the dead，" He replied， "coffins hung on the other side of the wall are getting heavier and heavier， I must sit here constantly so as not to be pried over." What a lunatic！ I thought. Many years later， Archimedes still sits there， almost buried in the overgrown alcove. Time must have served as his powerful lever. Even though， I doubt that the battle between life and death is as simple as the law of the lever. After all， "there is no such fulcrum."

Access and Columbarium in Robregordo Cemetery， Madrid， Spain， 2012