Tombs and Religious Buildings – THE STEIN, November 2023

Building design
Tomb + sacred building, cover image: Ana Barros
Cover picture: Ana Barros

In this issue on memorials and sacred architecture, we feature a chapel in an archaic, minimalist tower shape made of recycled gneiss and explore the contemporary design language of sacred spaces. New approaches to cemetery design are also exciting: we speak with experts and use the example of Campus Vivorum to show what the cemetery of the future might look like.

Since designing a burial chapel is not exactly an everyday undertaking these days, the architects Berger + Parkkinen threw themselves into a commission from a family in Styria with great curiosity and creative enthusiasm. “The result is a freestanding chapel in the castle park with an archaic, minimalist tower shape that draws inspiration from both the traditional burial culture of human history and the unique setting amidst ancient trees,” the architects enthuse. “We created a connection to the castle within sight and, through the use of light and a vertical orientation, generated the mystique and spiritual atmosphere befitting a burial monument.” Did they succeed—and if so, how? See for yourself in our magazine.

Burial Chapel Amid the Trees

The creators of Campus Vivorum have made it their mission to combine a spiritual atmosphere with a transformed cemetery culture. The result is an experimental space with various areas of focus, each of which places the individual at the center. Our author spoke with Dirk Pöschmann, executive director of the “Raum für Trauer” initiative, about the elements that connect the bereaved with the deceased.

People at the Center

Custom, handcrafted headstones remain in high demand. And they’ve won over experts in the field. You can also see the award-winning works from 2022 in the new issue.

Bernd Dirks, a master stone sculptor from Billerbeck in North Rhine-Westphalia, has been working with sacred spaces for over 35 years. Most recently, he contributed to the redesign of St. Lamberti Church in Coesfeld. We showcase the new design language of the principal elements in five selected places of worship.

Handcrafted Tombstones and a New Design Language in Places of Worship

Cemeteries are not only memorial sites; they also serve an important function in the city as “green lungs.” Our author, Annette Mühlberger, explores their significance for biodiversity and climate protection. Even herb gardens are now a possibility there. Prepare to be surprised.

The issue is available here in the shop.

In the October issue of STEIN, we took a look at Marmomac in Verona, introduced the new Vienna Museum, and embarked on a journey to Berlin—find everything about the marmo+mac issue here.

We hope you enjoy reading STEIN!

The STEIN Editorial Team

Cemeteries as Green Lungs

In the Memorials & Sacred Architecture issue, we feature a chapel in an archaic, minimalist tower shape made of recycled gneiss and explore the contemporary design language of sacred spaces. New approaches to cemetery design are also fascinating: we speak with experts and use the example of Campus Vivorum to show what the cemetery of the future might look like.

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Light and shadow in Cologne

Building design

L.-Fritz-Gruber-Platz is only about 400 meters away from Cologne Cathedral as the crow flies. For its design, the Düsseldorf-based firm scape Landschaftsarchitekten took up the theme of photography. The result is a play of light and shadow.

L. Fritz Gruber Square is located just 400 meters from Cologne Cathedral as the crow flies, right next to the Kolumba Art Museum of the Archdiocese of Cologne, which was built in 2007 according to plans by Peter Zumthor. The square is named after the photographic historian and journalist Leo Fritz Gruber. From 1945, he worked as a photographer for the British Army of the Rhine. This passion never left him. The Düsseldorf-based firm scape Landschaftsarchitekten therefore took up the theme of photography for the design of the square. A play of light and shadow creates a two-dimensional image of the large maple trees on the square. The square is bordered by listed facades from the 1920s and 1960s. Typical local basalt cobblestones surround a rectangular area of light-colored concrete slabs with an aspect ratio of 6:9 (small picture format), which is framed by three white cuboid benches.

Shadow plays are created on this projection surface, which is illuminated at night by a luminaire hanging above the square in the shape of a hollow sphere. Objects that cross its beam of light create sharply defined shadows on the paving. The functional principle is similar to that of a projector: a hollow body with a matt black inner surface and a point-shaped light source, the opening of which is dimensioned at the bottom so that the focal point beams precisely trace the surface of the square.

L.-Fritz-Gruber-Platz, Cologne

Client: City of Cologne – Civil Engineering Department
Open space: scape Landschaftsarchitekten, Düsseldorf
Project management: Hiltrud M. Lintel, Rainer Sachse
Collaboration: Jan Heimann, Judith Pfahler, Markus Hilgers, Bernd Nengel
Competition: 2007, 1st prize
Completion: September 2012
Area: 2,200 square meters
Costs: 570,000 euros

A stroke of art-historical luck

Building design

The Gothic sacristies of the parish church of St. Quirinus in Tegernsee are to be restored. Many eras have left their mark on St. Quirinus, which was the monastery church of the most important Benedictine abbey in Upper Bavaria until 1803.

The Gothic sacristies of the parish church of St. Quirinus in Tegernsee are to be restored. Many eras have left their mark on St. Quirinus, which was the monastery church of the most important Benedictine abbey in Upper Bavaria until 1803.

The sacristy used today dates from the Baroque period, but the two Gothic sacristies with their vaults and rare gray-on-gray painting are a stroke of art-historical luck. These are now used as storerooms, albeit for valuable items from the monastery or handicraft objects such as candlesticks or figurines.

The approval of the preliminary investigation for the restoration means that the sacristies will now be cleared out so that they can be made accessible to the public at some point in the future. Church historian Roland Götz has taken a closer look at the sacristies and knows that their preservation is a stroke of luck. However, fire protection still needs to be clarified, as there are no escape routes. As the church is under the same roof as the Bräustüberl, the castle distillery, the grammar school and the brewery, all those responsible and the owners must first come to an agreement. How much all the measures would cost is now to be found out in advance.