Bremen’s new burial law: goodbye stonemasons?

Building design

A new burial law has been in force in Bremen since the beginning of 2015 – there is another exception to the cemetery requirement. In addition to burial at sea and approved family crypts, it is now permitted to scatter the physical remains in the form of ashes on private land at the written request of the deceased. STEIN spoke to the State Councillor at the Senator for the Environment, Construction […]

A new burial law has been in force in Bremen since the beginning of 2015 – there is another exception to the cemetery requirement. In addition to burial at sea and approved family crypts, it is now permitted to scatter the physical remains in the form of ashes on private land at the written request of the deceased. STEIN spoke to Gabriele Friderich, State Councillor at the Senator for the Environment, Construction and Transport of the Free Hanseatic City of Bremen, about the opportunities that lie in the new law, including for stonemasons.

Have there already been many requests to scatter the ashes of the deceased in a private place outside the cemetery?

There have already been around 25 requests. Around 20 have also been approved by the responsible forensic medicine office.

What is the procedure for obtaining permission?

The applicant’s last place of residence must have been in Bremen. Proof can be an identity card, a death certificate or a tax assessment notice, for example. In addition, a written disposition of the place of scattering is required, i.e. the private property on which the ashes are to be scattered. A land register entry or affidavits from the owners can be cited here. The deceased designates the person who is to take over the care of the deceased. This person must then declare under oath that they have placed the ashes on the private land designated for this purpose.

Now we keep hearing about problems with a change of ownership or a lack of control options.

We are not aware of any such problems. The law has only been in force since the beginning of the year. But basically it has to be said: if the ashes of a deceased person are scattered on private land, there is no encumbrance in the land register. They are human remains and should be scattered with respect. However, ashes are ashes. There are no problems with burials at sea, which are also permitted in Bremen. The ashes are scattered and return to the natural cycle of the earth. The owner of a plot of land must decide for himself what quality he wishes to grant a private burial or scattering on it. This is not in the hands of the legislator. Nor is the handling of the place of mourning. In the event of a sale, the relatives should make arrangements with the new owner as to whether and how a visit to the memorial site is still possible.
On the subject of inspection: Inspection is not necessary because it is rather unlikely that the urn will be kept on the mantelpiece. First of all, the person caring for the deceased must sign an affidavit. If they do not dispose of the ashes, they are committing perjury. Who takes this risk – despite the low probability of being caught? At the same time, a moral dilemma arises. Because the dying person plans the burial after death with the person designated to care for them. Either you go against the dying person’s wishes by keeping the remains, or you conspire with them. In that case, however, he will demand a high price from his carer.

Won’t the new burial law put obstacles in the way of the trades working at the cemetery and the cemetery administration itself – after all, financial losses are foreseeable?

The cemetery is changing. But around 95 percent of citizens still want to be buried there. The remaining (maximum) five percent will make use of private burial. A central place of mourning is important for relatives and friends.
However, it is essential that the trades working at the cemetery, such as stonemasons or cemetery gardeners, incorporate the changing structures into their business planning. This is because our citizens not only want burials in private plots or burials at sea, but the trend is moving towards low-maintenance and cost-effective urn burials or cemetery forests. The cemetery market is changing and this change can and must be dealt with creatively. Why not offer memorial stones or something else for private burial sites? There are still no fixed rituals for private burials. When the market changes, you have to react flexibly and creatively. This is also an opportunity that can be seized!
In principle, of course, a state government must follow the wishes of its citizens and not engage in protectionism of certain professional groups. And there is a great desire for a liberalization of the cemetery obligation. Compared to other countries such as the USA or the Czech Republic, Germany is relatively strict in this area.

How are state governments across Germany reacting to Bremen’s burial law?

Bremen plays a pioneering role for Germany as a whole. We have already received many inquiries from various countries that want to benefit from our experience. The law came into force on January 1, 2015. Since then, we have of course been keeping a close eye on what is happening and where we can optimize processes if necessary. For example, many citizens have already submitted an application even though – strange as it may sound – they had not yet died. The application can only be submitted once death has already occurred. Otherwise, for example, land ownership or death care would have to be checked again after the death.

What opportunities and problems do you see in the new Funeral Act?

We have gained the freedom to decide more independently what happens to us after death. Nothing stands in the way of a private memorial. New opportunities are also opening up for the trades working in cemeteries – it is important to deal creatively with change so that positive personal and business development can take place.
Problems may arise from a lack of rituals. How do you create a dignified atmosphere? Who performs the mourning ceremony and what does it explicitly look like? Opening the urn in a fluid motion in order to scatter the remains poses problems in itself. What gestures or procedures are appropriate? This is where pastors, morticians, cemetery gardeners or stonemasons can get involved.

How would you personally like to be buried?

I can well imagine my ashes being scattered on private land. At the same time, however, a specific place of remembrance would also be important to me – a small memorial stone should adorn the place where the ashes are scattered.

POTREBBE INTERESSARTI ANCHE

Change of perspective – from art to architecture

Building design

The exhibition "Metamorphosis" by architect Heike Hanada can be seen at the Architekturgalerie Berlin until June 22.

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition. The white walls are not covered in sketches and drawings, nor is the gallery transformed into a […]

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition.

The white walls are not overlaid with sketches and drawings, nor is the gallery transformed into a landscape of installations or sculptures.

Rather, the space evokes the association of an art exhibition through the abstraction and targeted placement of individual photographs and models, emphasizing the handling of space, emptiness, materiality and object.

The “Metamorphosis” exhibition opened on May 9 – exactly four weeks after the opening of the Bauhaus Museum in Weimar.

One hundred years after the founding of the state Bauhaus school by Walter Gropius, the Bauhaus Museum by architect Heike Hanada has now been opened in Weimar. A place that shows the collected works from the first phase of the school of design and revives the Bauhaus’ love of experimentation and culture of ideas. The museum aims to emphasize the workshop character of the Bauhaus through its rough concrete walls.

In a similar way, Hanada combines the spirit of experimentation, art and architecture in the “Metamorphosis” exhibition. The exhibited works show parts of the Bauhaus Museum’s development process and the connection between the spirit of experimentation, art and architecture.

The architect borrows the term “metamorphosis” from geology, botany, zoology and mythology. There, “metamorphosis” is defined as the transformation or metamorphosis of one object or state into another. Heike Hanada draws on this process of transformation in her exhibition. In this sense, for example, a vacant plinth is transformed into a sculpture and the concrete block in turn becomes a plinth.

The composition of the exhibition objects does not seem to follow any particular order. Instead, the individual objects appear to communicate with each other. As if it were a matter of course, a study work by Hanada hangs directly next to a photograph of the finished Bauhaus Museum in Weimar.

The result is a flowing transition between experiment and completion, work and process, art and architecture, which Hanada depicts in drawings, models, a video installation and photographs by Andrew Alberts.

Healing architecture: “The sick house” exhibition

Building design
A building complex with several houses with flat roofs, large window areas and partly with wooden cladding. Credit: Agatharied District Hospital, © Nickl & Partner, Photo: Stefan Müller-Naumann

What does healing architecture look like? For the exhibition "Das Kranke(n)haus", TUM students analyzed several examples, including the Agatharied district hospital by Nickl und Partner. Credit: © Nickl & Partner, Photo: Stefan Müller-Naumann

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

At first glance, the wall looks almost like any other. However, an elongated, rectangular surface stands out slightly from the white in terms of color and texture. What is special about this surface is that if you run your fingertips over it, it activates odor molecules. The wall begins to smell; the scent is reminiscent of earth or moss, mixed with something else, harder to name. The installation “MAKING SENSE” by Norwegian artist and smell researcher Sissel Tolaas can be smelled in an exhibition about hospital architecture. When designing hospitals, the olfactory backdrop is one of several factors that can influence how the architecture affects the well-being of patients. On the wall in the exhibition, Tolaas’ installation is now intended to make “healing smells” tangible for visitors.

On July 11, the Architecture Museum of the Technical University of Munich opened the exhibition “Das Kranke(n)haus. How architecture helps to heal”. It is about the architecture of hospitals and the effects – both negative and positive – that these buildings can have on people. In short: how appropriately designed architecture can help sick people recover. The exhibition was curated by architectural psychologist Tanja C. Vollmer, Director of the Museum of Architecture Andres Lepik and Lisa Luksch, research assistant at the Chair of Architectural Theory and Curatorial Practice. Federal Minister of Health Karl Lauterbach is the patron of the exhibition.

The background to the exhibition is also a shortcoming that has been recognized in hospital construction in Germany. After clinics in the 20th century were primarily geared towards efficiency and economy, flexibility and rationalization, the approaches of “healing architecture” are now focusing on people again. However, such approaches and “evidence-based design” – i.e. design based on scientific findings – are not yet widely enough recognized and applied in Germany, as the museum writes. The exhibition aims to encourage a rethink of the role architecture plays in the healthcare sector and the possibilities and tasks of hospital construction.

The installation at the beginning of the exhibition is almost like looking through an oversized keyhole into a hospital room. The wall on the left is mirrored; a green fabric panel is suspended in the room and separates a “room”. Through a large, circular cut-out in the fabric, visitors can see the head end of a hospital bed from behind. The few elements are enough to evoke associations with a patient’s room. The exhibition also provides insights into such rooms. And the show will be about something else that the installation may suggest. The cut-out in the fabric directs the visitor’s gaze. As you are standing behind the hospital bed, you are looking in the same direction and therefore have the same view as a patient in the bed. And the hospital bed faces the window front onto the meadow in front of the museum. Visitors take on the perspective of the patients.

The exhibition is divided into three sections. The first, entitled “Experiment”, presents therapy and aftercare facilities. Photos, plans, models and texts in German and English, displayed on large wooden stands, convey the examples. The title of the section refers to the fact that these facilities are less regulated, less technical and less complex than hospitals – and have therefore long been a field of experimentation for healing architecture, according to the museum. The buildings presented include the REHAB in Basel, a clinic for the rehabilitation of people with brain damage and/or paraplegia. The new REHAB building by Herzog & de Meuron opened in 2002. The project presentations are accompanied by large infographics on the side walls, for example on the lifespan of hospitals.

The second and central section of the exhibition is also visually different from the first. While the displays in the first section were curved and irregularly shaped, the supports for the examples in the second section are rectangular. The color scheme here is closely linked to the structure of the content.

Entitled “Evidence”, this section presents evidence-based design, as well as the “healing seven”. These refer to factors in the hospital architecture that can influence the stress experienced by severely and chronically ill patients. In order to reduce such harmful stress, these environmental factors can be taken into account when designing the buildings.

The Healing Seven are based on scientific research by Vollmer and architect Gemma Koppen. Over a period of more than ten years, they investigated the influence that the environment in hospitals has on the stress perception of seriously and chronically ill patients. Last year, Vollmer and Koppen then defined the following “healing seven”:

  • Orientation
  • Olfactory environment
  • Soundscape
  • Privacy and retreat
  • Power points
  • View and foresight
  • Human scale

In preparation for the exhibition, TUM Master’s students analyzed national and international hospital projects with regard to these seven factors. The 13 projects presented in the exhibition are each assigned to one of the healing seven. The color concept of the displays – each of the factors is assigned a color – picks up on this visually.

Among the projects presented in the second part of the exhibition is the Agatharied Hospital in Hausham, Bavaria, designed by Nickl and Partner and completed in 1998. International examples include the Friendship Hospital Satkhira in southwest Bangladesh by Kashef Chowdhury/URBANA (2018) and the Bürgerspital Solothurn in Switzerland by Silvia Gmür Reto Gmür Architekten (2021). In this section, visitors will also come across visitors standing unusually close to the wall – to smell the aforementioned olfactory installation by Sissel Tolaas.

The end of the exhibition is designed to be open, in the literal sense: in a so-called forum, visitors can exchange ideas with each other and with experts during their visit to the exhibition or in event formats. Literature on the topic is on display, and visitors can browse through it or discuss it at a large round table. Another olfactory installation by Sissel Tolaas in the form of several translucent fabric panels hangs at the end of this room; video clips are shown on screens behind them. In this forum, the status quo, solutions and a human-centered future of hospital planning and construction are to be discussed and shaped together, as the museum writes.

The exhibition at the TUM Architecture Museum in the Pinakothek der Moderne runs until January 21, 2024. The Pinakothek is open daily from 10 a.m. to 6 p.m. except Mondays, and until 8 p.m. on Thursdays.

“The sick house. How architecture helps to heal.”

Architecture Museum of the TUM in the Pinakothek der Moderne, Munich
July 12, 2023 to January 21, 2024
Curators and curators: Tanja C. Vollmer, Andres Lepik, Lisa Luksch
Curatorial and scientific collaboration: Zeynep Ece Sahin, Friedrich Mönninger
Exhibition architecture: IMS Studio and Friederike Daumiller
Graphic design: strobo B M
The exhibition is accompanied by a catalog.

Let’s stay on topic: the winning design in the competition for a new hospital in Liezen also uses the keyword “healing architecture”. More about the design by Franz&Sue with Maurer&Partner here: Liezen lead hospital