*발레라 화장터, 종묘를 떠오르게 합니다 [ Studio Zermani e Associati ] Crematory In Parma


영원한 휴식을 위한 영면의 장소는 삶과 죽음 경계면에 서 있습니다.

죽은자를 위한 발레라 화장터는 도시로 부터 서측으로 1킬로미터 떨어진 곳에 위치하며 수평으로 길게

뻗어 있는 랜드스케이프의 한부분이 됩니다. 화장터의 공간적 특성을 수평으로 길게 연장하는 건축물의 디자인은

로마시대의 건축물과 많이 닮아 있습니다. 중정과 내부공간을 연결하는 회랑이 있고 그 회랑을 떠 받치는

열주가 대칭적인 평면 속에 있습니다. 시간속 장소의 의미를 되새기는 이러한 건축양식은

장소가 갖고 있는 시간적 의미에 추가로 죽은자의 시간적 의미를 더하여 간결한 형태로

디자인됩니다. 아마도 내부 추모공간과 외부 중정을 연결하는 긴회랑은

죽은자와 산자를 정화시키는 중간계 공간이 아닐까요?

바라보는 것만으로도 숙연해짐은 화장터가 주는 엄숙함도 있겠지만

수평의 긴 건축적 볼륨과 수직 기둥의 반복적인 장중함에서 더 찾아 볼 수 있습니다.

갑자기 우리에게 종묘가 있다는 것이 얼마나 소중한지 새삼 느껴집니다.


reviewed by SJ



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.



Architects: Studio Zermani e Associati
Location: , Province of , Italy
Architect In Charge: Paolo Zermani
Design Team: Eugenio Tessoni
Collaborators: Roberto Panara
Year: 2009
Photographs: Mauro Davoli


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.


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.


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.


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.



from  archdaily


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