Landscapes for Death and Living 
4 Projects
Architecture and Community Belonging
6 Projects
Luxury and Technology-Showrooms and Flagship Stores
5 Projects


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ISSN_2092-5190




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Landscapes for Death and Living
Landscapes for Death and Living_Alison Killing
Chia Ching Mausoleum_Álvaro Siza + Carlos Castanheira

Hill of the Buddha_Tadao Ando Architect & Associates
Inagawa Cemetery Chapel and Visitor Centre_David Chipperfield Architects
Crematorium Siesegem_KAAN Architecten

Architecture and Community Belonging
Architecture and Community Belonging_Ana Souto
Boca Sur Civic District_Smiljan Radic
The Heart in Ikast_C.F. Møller Architects
Kult – Westmünsterland Cultural and Historical Center_Pool Leber Architekten
Águeda Arts Centre_AND-RÉ
Congress Center of the Haute Saintonge_TETRARC

Yuanlu Community Center_Challenge Design

Luxury and Technology-Showrooms and Flagship Stores
Luxury and Technology: Invisible Elements_Silvio Carta
Renault Symbioz House 33_Marchi Architectes
Franz Kraler Showroom in Dobbiaco_Studio Marastoni Architetti
Céline Flagship Store_Valerio Olgiati
UR Shanghai Flagship Store – Canyon_DOMANI
Pitaro Office and Furniture Showroom_Baranowitz & Goldberg Architects in-co with Pitsou Kedem Architects
 


삶과 죽음의 랜스케입
삶과 죽음을 함께 담은 랜스케입_알리슨 킬링
침묵 속에서 - 치아 칭 가족묘_알바루 시자 + 까를루스 까스따네이라
부처의 언덕_다다오 안도 아키텍트 앤 어쏘시츠
이나가와 묘원 방문자 센터와 예배당_데이비드 치퍼필드 아키텍츠
씨에세겜 화장장_칸 아키텍튼


지역 소속감과 건축

지역 소속감과 건축_아나 소투
보카 수르 공공지구_스밀한 라딕
이카스트 브란데 국제학교 다목적시설, ‘더 하트’_C.F. 뮐러 아키텍츠
프레덴 쿨트복합문화센터_풀 레버 아키텍튼
아게다 예술센터_안드-레
오뜨 생통주 문화센터_TETRARC
예안루 지역센터_챌린지 디자인

쇼룸과 플랙쉽스토어 - 럭셔리와 첨단 기술
럭셔리와 첨단 기술-보이지 않는 요소_실비오 까르따
르노 컨셉카 ‘심비오즈’를 위한 미래 주택_마르치 아키텍츠
프란츠 크랄러 쇼룸 도비아코 점_스튜디오 마라스토니 아르키텍티
마이애미 셀린느 플랙쉽스토어_발레리오 올지아티
상하이 어반 레비보 플랙쉽스토어_DOMANI
피타로 사무소 겸 가구 쇼룸_바라노위츠 앤 골드베그 아키텍츠 + 핏소 케뎀 아키텍츠




Landscapes for Death and Living


The challenge of designing for the architecture of death, according to architectural historian Ken Worpole is that it ‘has both to remind us of the longevity of memory and human culture, as well as the brevity of the individual human life.’  In these four cemetery projects the design of the surrounding landscape and the integration of that into the building are common strategies for responding to this question. What is striking finally is how full of life these buildings are. The plants and landscape design are key to the experience, while these places are also designed very much around the visitors and their needs. The end result is a series of places that are about the dead, but for the living and full of life. This article features David Chipperfield Architects’ new visitor centre and chapel at Inagawa Cemetery, near Osaka, Japan; Alvaro Siza’s Chia Ching Mausoleum, at Chin Pao San Cemetery, in New Taipei City in Taiwan; Siesegem Crematorium, in Aalst, northern Belgium by KAAN Architecten; and Tadao Ando’s Hill of the Buddha at Makomanai Takino Cemetery in Sapporo, Japan.
written by Alison Killing  




Architecture and Community Belonging


The architecture scene of the last few decades has been monopolised by buildings that do not sit comfortably within their contexts: the main goal of these structures was to rebrand cities, regions and even countries to the expense of diluting local identities. Moreover, these iconic insertions in the built environment did not respond to the needs of the local communities, but to the expectations of temporary users. The buildings that occupy this section offer a completely different approach: they contribute to an architecture of belonging, that establishes a dialogue with its context, its topography, its history and the needs of its community. There are community centres which celebrate the concept of civic and engaged architecture, that shelter the development of social encounters; there are also two arts and congress centres which, not only contribute to the local economy, their architectural quality also shapes new identities, and ultimately, a sense of pride and belonging. These projects reveal a number of commonalities, not only as a result of their civic manifestoes, but also from a design point of view: a careful selection of vernacular and familiar qualities, shapes and scales are combined with contemporary approaches to materiality, lighting and construction. Ultimately, they have all become social landmarks, anchors that support local communities and their contexts. written by Ana Souto