Treptow Crematorium, Baumschulenweg, Berlin - Public ...

Treptow Crematorium,
Baumschulenweg, Berlin
31
The new Treptow Crematorium by German architects
Axel Schultes and Charlotte Frank, lies on an axis with
the original 19th century gatehouse. On approach, the
crematorium emerges from below the archway, through an
avenue of trees to affirm its presence as a modern day
monument to the transience of human life.
The design of the crematorium is resonant with the
assertive forms and symmetrical organisation of
traditional mausoleums; however it manages to resist
any association with specific religious values as it
remains devoid of any figurative ornamentation.
This place in which members of all faiths are welcomed
to mark the transition between life and death enriches
a city as culturally diverse as modern day Berlin.
Spatial composition and function
The Crematorium and its surrounding landscaped
areas stimulate a sense of reflection and meditation,
achieved through careful detailing within the
programme and construction of the building. This is
subtly experienced from the point at which you first
physically connect with the building. The low and
deep structure of the concrete steps leading to the
entrance doors unconsciously slows the rhythm of
your walking pace and prepares you for an encounter
with the contemplative spaces inside. Whether
intentional or not, it is these delicate features that
transform the Crematorium from a mere building into
a piece of architecture - a device which informs your
understanding of a place through the thoughtful
articulation of its elements.
The building’s interior is introduced at each front
entrance door through the adjacent full height window,
which offers a visual link through the vestibule to the
gardens that lie behind it. From the moment that you
enter the Crematorium past a slow, rumbling, sliding
door you’re immediately at the heart of the building.
Emma-Kate
Matthews
3rd year Architecture
student (unit 5)
School of the Built
Environment
Nottingham University
E: ekm.work@
googlemail.com
W: www.nottingham.
ac.uk/sbe
The crematorium as seen from the original gatehouse
Floorplans: original
source detail magazine
amended by ekm
This article is a result
of a SCALA travel
bursary awarded in
2007 to Emma-Kate
Matthews of
Nottingham University.

32 Treptow Crematorium, Baumschulenweg, Berlin
ground level. The only subtle reminder of the furnace
rooms is in the three chimneys that sit flush with the
“The only subtle
reminder of the
furnace rooms
is in the three
chimneys that sit
flush with the South
East elevation.”
Entrance steps with full height window
The Vestibule can accommodate up to 1000 people
and exists as a space in its own right without any
specific function but providing an opportunity for both
thinking and discussion space. The lack of a formal
entrance lobby and manned reception area allows you
to make a discreet entrance and remain inconspicuous
when visiting alone or as part of a small group - just
one example of how this building successfully
maintains sensitivity for the privacy of visitors who may
be experiencing emotional difficulty and bereavement
South East elevation. It seems that Schultes and
Frank intend to focus our attention away from the
physical reality of death and towards the promise of
new life and fresh beginnings.
Time and being
On entering the vestibule, the large vertical columns
immediately establish a sense of scale with the visitor.
Their vast height produces a high-contrast quality of
daylight that pours into the space through a distinctive
cantilever connection detail between the column tops
and ceiling. This strong dialogue with the surrounding
exterior environment makes visible the passage of time;
a notion which is continually symbolised at various
levels of scale throughout the building in the careful
articulation of materials, construction detailing and
the manipulation of natural daylight. The proportions
of the main hall and its random arrangement of the tall
columns like memorial towers successfully affords an
individual a place to reflect at a distance from others
and remain anonymous without feeling isolated.
The acoustic performance of the main hall is enough to
induce a state of recollection and an appreciation
Smaller rooms and ceremonial halls surround the
vestibule, the largest of which is directly opposite the
main entrance. These smaller rooms achieve a sense
of intimacy with low ceiling heights and the diffusion
of day light via mechanical louvres fronting any glazed
areas. As with the rest of the building, these spaces
may be booked for ceremonies by larger groups or
used freely by individuals during weekdays.
The two main functions of the building as a
crematorium and ceremonial space are completely
separated as the visitor is denied any visual contact
with the bodies and ashes that remain hidden below
Exhaust chimneys offer a discreet reminder of the
furnace rooms

Treptow Crematorium, Baumschulenweg, Berlin 33
Tectonic articulation
The material continuity between exterior and interior
surfaces is most clearly defined in the expression of
exposed pre-cast concrete panels on both exterior
and interior walls. Where a junction with glazing exists,
a clean thin frame allows the glazing to appear as a
thin veil between interior and exterior when compared
to the thick heavyweight construction of the primary
concrete structure. It may be assumed that Schultes
and Frank intended this tectonic gesture to symbolise
the fine boundary between life and death, with the
building envelope as representative of the transition
space between each state. It is in this way that our
experience of form and space in the Crematorium is
constantly enriched - through the deliberate
articulation of material qualities within the building.
“This piece of
architecture -
through immaculate
attention to detail
on various scales -
makes us aware of
our place within the
physical world.”
The shameless expression of each joint in the concrete
Vestibule space accommodates both thoughtful
individuals and large groups
for the ephemeral as any sounds generated in this
space decay slowly in their reverberation between the
highly reflective concrete surfaces. The messages
that are written in the piles of light sand that line the
perimeter of the main hall similarly reinforce this
notion when they fade as the sand shifts over time.
The sand also displays the architects intention to
encourage us to engage with the building on a tactile
level, as the architecture arrests our senses and
heightens our awareness of our place within it and,
by extension, our existence in the physical world.
panels articulates a sense of order, in conjunction with
the building’s symmetrical floor plan, which is partially
responsible for the calming and settled character of
the building.
Conclusion
This crematorium is subtle in its symbolic references,
but extremely successful in creating an experience
appropriate for supporting the rituals and actions
associated with the passing of a life. This piece of
architecture - through immaculate attention to detail
on various scales - makes us aware of our place
within the physical world whilst providing a place for
us to say goodbye to those who have departed it.
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