Vancouver-based Shape Architecture has unveiled the charred-wood South Haven Centre for Remembrance within a municipal cemetery on the outskirts of the city of Edmonton, Canada.

Built to serve a non-denominational cemetery, Shape Architecture aimed to create a building that was sensitive to its site and conveyed a sense of remembrance without making strong references to religion.

總部位於溫哥華的Shape Architecture在加拿大埃德蒙頓市郊的市政公墓內,推出了燒焦的南黑文紀念中心。

專為非教派墓地而建,Shape Architecture旨在打造一幢對其所在地敏感的建築,並傳達出一種紀念感,而又沒有強烈提及宗教。

“Given the cemetery is non-denominational; the mandate was to create a building that would speak to everyone without any literal references or iconography,” said Shape Architecture partner Dwayne Smyth.

“This was one of the most challenging and also motivating drivers behind the evolution of the design as it pushed the design to be continually refined and edited,” he told Dezeen. “The result was a project that strives to be timeless and move everyone in some way.”

Shape Architecture的合夥人Dwayne Smyth說:“鑑於該墓地是非教派的;其任務是創建一座可以與所有人交談的建築物,而無需任何文字參考或圖示。”

他對Dezeen表示:“這是設計演變背後最具挑戰性和動力的驅動力之一,因為它推動了設計的不斷完善和編輯。” “結果是一個致力於永不過時並以某種方式感動每個人的項目。”

Partially submerged in the landscape, the 650-square-metre, single-storey building contains the cemetery’s public meeting rooms as well as its offices for maintenance staff and a large garage, which is hidden from the cemetery by a low wall.

These public and staff areas are positioned at either end of the building and divided by a large lobby and reception area that has a full-height window with views across the cemetery.



A 13-metre tall, angular tower, which stands above the public end of the almost entirely black building, marks its position in the cemetery and recalls the form of a gravestone.

At the top of the tower an angled, triangular-shaped window provides light to one of the family meeting rooms and a corridor.



“The building emerges from the prairie landscape and stands against the horizon like a grave marker in the field,” said Smyth.

“From the exterior, the tower acts as a marker in the landscape which is symbolically centralised within the cemetery itself,” he continued.

“Inside, the tower makes reference to the summer solstice and more specifically; how light enters the tower on that day from dawn to dusk.”




Shape Architecture clad the building in a combination of cedar wood slats, burnt using the Japanese shou sugi-ban technique, and black hot-rolled steel panels to create a contrast to the surrounding, often snow-covered, landscape.

“The dark exterior provides high contrast in the winter and is seen as more of a silhouette on the horizon during the spring, summer and autumn,” explained Smyth.

“The ephemerality of the interplay of shadows on the snow contrast the permanence of the physical building itself; where remembrance is signified through the interplay of the architecture, nature and time.”

Shape Architecture用雪松木板條將建築物包裹起來,並用日本的shou sugi-ban技術將其燒毀,再加上黑色熱軋鋼板,與周圍經常被雪覆蓋的景觀形成鮮明對比。



In contrast to the black exteriors, both the public and staff areas of the centre’s interiors are decorated with light materials.

Birch timber was used to clad some walls and to create in-built furniture, while the upper third of the walls and ceiling were painted white.



Other recently completed buildings in cemeteries include a pink pigmented concrete building by David Chipperfield’s studio in the Japanese town of Inagawa and a structure in an Italian cemetery made from local limestone stacked in metal baskets.

Photography is by Ema Peter.

公墓中其他最近完成的建築物包括戴維·奇珀菲爾德(David Chipperfield)工作室位於日本稻川市的粉紅色顏料混凝土建築,以及意大利公墓中的結構,該公墓由當地石灰石堆疊在金屬筐中製成。

攝影是埃瑪·彼得(Ema Peter)。



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