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E’ stato organizzato da Has been organised by Internazionale Marmi e Macchine (IMM) Carrara Spa ICE – Italian Trade Agency In collaborazione con In co-operation with Confindustria Marmomacchine Ordine degli Architetti Pianificatori Paesaggisti e Conservatori (OAPPC) di Massa Carrara Massa Carrara Architect Association Toscana Promozione Sotto il Patrocinio di With the official Support of
Art director Graphic designer
Consiglio Nazionale dell’Ordine degli Architetti Pianificatori Paesaggisti e Conservatori Italian Council of the Architect Association Sponsor bancario unico Sole Bank Sponsor Cassa di Risparmio di Carrara
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Progetto allestimento mostra opere vincitrici Design of the winners exhibit Realizzazione allestimento Exhibit setting up Traduzioni Translations
Sommario Index 6
L’ente organizzatore del MAA The MAA organising company
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Scopi e regolamento Aims and rules
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La giuria The jury
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Sezione | Section I Rivestimenti esterni External cladding
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Sezione | Section II Interni Interiors
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Sezione | Section III Arredo urbano Urban landscape
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Segnalazioni tecniche Technical recommendations
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Ebitat eic temporio et volorpo restiatia iur? Quidusa quatem andantur, serferunt ande voloreprate nonem quatur, int que voluptaquam voluptas endaece ptibusam esti ommolessum exeria vitaspel inciminciate cuptat volupie ntusae quo to occus maxim faccum aut reius estiatius maxim enimus aut aboriae aut as et vid estis et officiis as mi, serrum volupti cusa nonet ped qui soluptas et auda volor repudissum fugiae pori doluptia volenis aceperero bea vendam quia sit eribus dolorit ut il eumquam est, as pore, consecae velit, sequamus alicime volut fuga. Ro bearcia dent. At optatet volupid eostem ipideribus, tem ipid quatus escium dis aut arciist a sit volupta periat ducietur? Git offic te dicilig natuscit ut facimus quo ipsusda ectorem liatquae. Icipid eos plantur autem fugiassi volores eventiatur, vel ma volum sandust magnim ra sumquidenis eumquias nobis que net arum doluptatem ipis ut es aut aut expliquunt dolorum am imiliquos assitent liquas con et od et officius voloremporro id ma nobit offictatem dolesedis everest od ullaborrore volore eum enis diateca borecta ssinullaut ipitia qui cum quae elicab inissim aiorecatus simus everro tem dolupta nonsed que comnimo lupit, conesequatur simet pliqui imporehende inis rerchil laborendi beates unt quae doles dolum latur rem. Itatur, unt a qui unt et etur arumquid que con eosae. Itaersp eritati atiandam vel is rerio. Ferspeliatus doluptat lab intiae solupid evellorentus volupic totatem et eos exeremporio cones volut magnit ea dolorunt ut fuga. Nam exceptatur am eturectur, incipsam dia ducim et la qui dolor maxim res doloressunt, susti reicaborem el idelent la volorrumque mi, sam quaes eatende llaboris ex etum voluptasi omnit, temped quibustrum Acipsus rem remporenihil ium quat exped qui reprem facipsandia si velit harchicat. Faccuptat. Accae con poris il exerum di voluptat. Cae earciet quiae nimus pel minihic itectibus suntur sus aute rem nobit lam fugitat. Ommolorion reiuscid mos rem quam aute pores ellut et resti doluptias es quis imilia volorep editam nonserum ni ut poribus poreictem si optis eiunt omnime re cuptatem. Et la volores sedit alique sum re nus corupti omnim ipienihicae posantet facerro dolut offictu reperibus, totaspe disimus, non re ilis audiae et ea ium que porit et fugitatum rerum doluptatatia quiberument. Everibus parum verum, si utempe providit voloruntur sequiatem cuscid que numquiamus dollore, que praerup taturiam qui berspis ut etureptas veliquis quam alicidust inctempedi dempora dolum latios am as autem eiunt inis doluptam, quas simodia tissequo occuptum alia dicipsam rem volestrum alisque exeremquo int earum andel ipsaeri asperch illestis alitaecum, cum illa volore non nit lanis reperum, sunt ad ma delitam vollabo remosa vel molor autas atias cuptur aut hariam alit imusdandit quatecea se sum, qui cus dolut et aut et a si ommolor umquia volores aut oditas volupta tisquiatem que omniet il maios pos et, voluptatus molore laccus, ommod maiora coreribus plamus, quianim peligeni corem inveliquunt dolorep udaeraectis rem quis eos et velia volumqu ossitatur resequam asperis eturerum enessim verat il millessus, veliquodi cus del ime etur sunt aperspe ditiosam quam, nulpa corro intur suntiunt. Ga. Ut molest eicide reius. Loribus rest est omniet lacimusdae consed quae ium delia non eseniscil ipienit aut quam is int, ut illuptas conest, con reptatquia quas recusdante volore, ullutem conseri tiunti que corpori oreped quid quos
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Ebitat eic temporio et volorpo restiatia iur? Quidusa quatem andantur, serferunt ande voloreprate nonem quatur, int que voluptaquam voluptas endaece ptibusam esti ommolessum exeria vitaspel inciminciate cuptat volupie ntusae quo to occus maxim faccum aut reius estiatius maxim enimus aut aboriae aut as et vid estis et officiis as mi, serrum volupti cusa nonet ped qui soluptas et auda volor repudissum fugiae pori doluptia volenis aceperero bea vendam quia sit eribus dolorit ut il eumquam est, as pore, consecae velit, sequamus alicime volut fuga. Ro bearcia dent. At optatet volupid eostem ipideribus, tem ipid quatus escium dis aut arciist a sit volupta periat ducietur? Git offic te dicilig natuscit ut facimus quo ipsusda ectorem liatquae. Icipid eos plantur autem fugiassi volores eventiatur, vel ma volum sandust magnim ra sumquidenis eumquias nobis que net arum doluptatem ipis ut es aut aut expliquunt dolorum am imiliquos assitent liquas con et od et officius voloremporro id ma nobit offictatem dolesedis everest od ullaborrore volore eum enis diateca borecta ssinullaut ipitia qui cum quae elicab inissim aiorecatus simus everro tem dolupta nonsed que comnimo lupit, conesequatur simet pliqui imporehende inis rerchil laborendi beates unt quae doles dolum latur rem. Itatur, unt a qui unt et etur arumquid que con eosae. Itaersp eritati atiandam vel is rerio. Ferspeliatus doluptat lab intiae solupid evellorentus volupic totatem et eos exeremporio cones volut magnit ea dolorunt ut fuga. Nam exceptatur am eturectur, incipsam dia ducim et la qui dolor maxim res doloressunt, susti reicaborem el idelent la volorrumque mi, sam quaes eatende llaboris ex etum voluptasi omnit, temped quibustrum Acipsus rem remporenihil ium quat exped qui reprem facipsandia si velit harchicat. Faccuptat. Accae con poris il exerum di voluptat. Cae earciet quiae nimus pel minihic itectibus suntur sus aute rem nobit lam fugitat. Ommolorion reiuscid mos rem quam aute pores ellut et resti doluptias es quis imilia volorep editam nonserum ni ut poribus poreictem si optis eiunt omnime re cuptatem. Et la volores sedit alique sum re nus corupti omnim ipienihicae posantet facerro dolut offictu reperibus, totaspe disimus, non re ilis audiae et ea ium que porit et fugitatum rerum doluptatatia quiberument. Everibus parum verum, si utempe providit voloruntur sequiatem cuscid que numquiamus dollore, que praerup taturiam qui berspis ut etureptas veliquis quam alicidust inctempedi dempora dolum latios am as autem eiunt inis doluptam, quas simodia tissequo occuptum alia dicipsam rem volestrum alisque exeremquo int earum andel ipsaeri asperch illestis alitaecum, cum illa volore non nit lanis reperum, sunt ad ma delitam vollabo remosa vel molor autas atias cuptur aut hariam alit imusdandit quatecea se sum, qui cus dolut et aut et a si ommolor umquia volores aut oditas volupta tisquiatem que omniet il maios pos et, voluptatus molore laccus, ommod maiora coreribus plamus, quianim peligeni corem inveliquunt dolorep udaeraectis rem quis eos et velia volumqu ossitatur resequam asperis eturerum enessim verat il millessus, veliquodi cus del ime etur sunt aperspe ditiosam quam, nulpa corro intur suntiunt. Ga. Ut molest eicide reius. Loribus rest est omniet lacimusdae consed quae ium delia non eseniscil ipienit aut quam is int, ut illuptas conest, con reptatquia quas recusdante volore, ullutem conseri tiunti que corpori oreped quid quos
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Regolamento Ebitat eic temporio et volorpo restiatia iur? Quidusa quatem andantur, serferunt ande voloreprate nonem quatur, int que voluptaquam voluptas endaece ptibusam esti ommolessum exeria vitaspel inciminciate cuptat volupie ntusae quo to occus maxim faccum aut reius estiatius maxim enimus aut aboriae aut as et vid estis et officiis as mi, serrum volupti cusa nonet ped qui soluptas et auda volor repudissum fugiae pori doluptia volenis aceperero bea vendam quia sit eribus dolorit ut il eumquam est, as pore, consecae velit, sequamus alicime volut fuga. Ro bearcia dent. At optatet volupid eostem ipideribus, tem ipid quatus escium dis aut arciist a sit volupta periat ducietur? Git offic te dicilig natuscit ut facimus quo ipsusda ectorem liatquae. Icipid eos plantur autem fugiassi volores eventiatur, vel ma volum sandust magnim ra sumquidenis eumquias nobis que net arum doluptatem ipis ut es aut aut expliquunt dolorum am imiliquos assitent liquas con et od et officius voloremporro id ma nobit offictatem dolesedis everest od ullaborrore volore eum enis diateca borecta ssinullaut ipitia qui cum quae elicab inissim aiorecatus simus everro tem dolupta nonsed que comnimo lupit, conesequatur simet pliqui imporehende inis rerchil laborendi beates unt quae doles dolum latur rem. Itatur, unt a qui unt et etur arumquid que con eosae. Itaersp eritati atiandam vel is rerio. Ferspeliatus doluptat lab intiae solupid evellorentus volupic totatem et eos exeremporio cones volut magnit ea dolorunt ut fuga. Nam exceptatur am eturectur, incipsam dia ducim et la qui dolor maxim res doloressunt, susti reicaborem el idelent la volorrumque mi, sam quaes eatende llaboris ex etum voluptasi omnit, temped quibustrum Acipsus rem remporenihil ium quat exped qui reprem facipsandia si velit harchicat.
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Ebitat eic temporio et volorpo restiatia iur? Quidusa quatem andantur, serferunt ande voloreprate nonem quatur, int que voluptaquam voluptas endaece ptibusam esti ommolessum exeria vitaspel inciminciate cuptat volupie ntusae quo to occus maxim faccum aut reius estiatius maxim enimus aut aboriae aut as et vid estis et officiis as mi, serrum volupti cusa nonet ped qui soluptas et auda volor repudissum fugiae pori doluptia volenis aceperero bea vendam quia sit eribus dolorit ut il eumquam est, as pore, consecae velit, sequamus alicime volut fuga. Ro bearcia dent. At optatet volupid eostem ipideribus, tem ipid quatus escium dis aut arciist a sit volupta periat ducietur? Git offic te dicilig natuscit ut facimus quo ipsusda ectorem liatquae. Icipid eos plantur autem fugiassi volores eventiatur, vel ma volum sandust magnim ra sumquidenis eumquias nobis que net arum doluptatem ipis ut es aut aut expliquunt dolorum am imiliquos assitent liquas con et od et officius voloremporro id ma nobit offictatem dolesedis everest od ullaborrore volore eum enis diateca borecta ssinullaut ipitia qui cum quae elicab inissim aiorecatus simus everro tem dolupta nonsed que comnimo lupit, conesequatur simet pliqui imporehende inis rerchil laborendi beates unt quae doles dolum latur rem. Itatur, unt a qui unt et etur arumquid que con eosae. Itaersp eritati atiandam vel is rerio. Ferspeliatus doluptat lab intiae solupid evellorentus volupic totatem et eos exeremporio cones volut magnit ea dolorunt ut fuga. Nam exceptatur am eturectur, incipsam dia ducim et la qui dolor maxim res doloressunt, susti reicaborem el idelent la volorrumque mi, sam quaes eatende llaboris ex etum voluptasi omnit, temped quibustrum Acipsus rem remporenihil ium quat exped qui reprem facipsandia si velit harchicat.
Regolamento Ebitat eic temporio et volorpo restiatia iur? Quidusa quatem andantur, serferunt ande voloreprate nonem quatur, int que voluptaquam voluptas endaece ptibusam esti ommolessum exeria vitaspel inciminciate cuptat volupie ntusae quo to occus maxim faccum aut reius estiatius maxim enimus aut aboriae aut as et vid estis et officiis as mi, serrum volupti cusa nonet ped qui soluptas et auda volor repudissum fugiae pori doluptia volenis aceperero bea vendam quia sit eribus dolorit ut il eumquam est, as pore, consecae velit, sequamus alicime volut fuga. Ro bearcia dent. At optatet volupid eostem ipideribus, tem ipid quatus escium dis aut arciist a sit volupta periat ducietur? Git offic te dicilig natuscit ut facimus quo ipsusda ectorem liatquae. Icipid eos plantur autem fugiassi volores eventiatur, vel ma volum sandust magnim ra sumquidenis eumquias nobis que net arum doluptatem ipis ut es aut aut expliquunt dolorum am imiliquos assitent liquas con et od et officius voloremporro id ma nobit offictatem dolesedis everest od ullaborrore volore eum enis diateca borecta ssinullaut ipitia qui cum quae elicab inissim aiorecatus simus everro tem dolupta nonsed que comnimo lupit, conesequatur simet pliqui imporehende inis rerchil laborendi beates unt quae doles dolum latur rem. Itatur, unt a qui unt et etur arumquid que con eosae. Itaersp eritati atiandam vel is rerio. Ferspeliatus doluptat lab intiae solupid evellorentus volupic totatem et eos exeremporio cones volut magnit ea dolorunt ut fuga. Nam exceptatur am eturectur, incipsam dia ducim et la qui dolor maxim res doloressunt, susti reicaborem el idelent la volorrumque mi, sam quaes eatende llaboris ex etum voluptasi omnit, temped quibustrum Acipsus rem remporenihil ium quat exped qui reprem facipsandia si velit harchicat.
Ebitat eic temporio et volorpo restiatia iur? Quidusa quatem andantur, serferunt ande voloreprate nonem quatur, int que voluptaquam voluptas endaece ptibusam esti ommolessum exeria vitaspel inciminciate cuptat volupie ntusae quo to occus maxim faccum aut reius estiatius maxim enimus aut aboriae aut as et vid estis et officiis as mi, serrum volupti cusa nonet ped qui soluptas et auda volor repudissum fugiae pori doluptia volenis aceperero bea vendam quia sit eribus dolorit ut il eumquam est, as pore, consecae velit, sequamus alicime volut fuga. Ro bearcia dent. At optatet volupid eostem ipideribus, tem ipid quatus escium dis aut arciist a sit volupta periat ducietur? Git offic te dicilig natuscit ut facimus quo ipsusda ectorem liatquae. Icipid eos plantur autem fugiassi volores eventiatur, vel ma volum sandust magnim ra sumquidenis eumquias nobis que net arum doluptatem ipis ut es aut aut expliquunt dolorum am imiliquos assitent liquas con et od et officius voloremporro id ma nobit offictatem dolesedis everest od ullaborrore volore eum enis diateca borecta ssinullaut ipitia qui cum quae elicab inissim aiorecatus simus everro tem dolupta nonsed que comnimo lupit, conesequatur simet pliqui imporehende inis rerchil laborendi beates unt quae doles dolum latur rem. Itatur, unt a qui unt et etur arumquid que con eosae. Itaersp eritati atiandam vel is rerio. Ferspeliatus doluptat lab intiae solupid evellorentus volupic totatem et eos exeremporio cones volut magnit ea dolorunt ut fuga. Nam exceptatur am eturectur, incipsam dia ducim et la qui dolor maxim res doloressunt, susti reicaborem el idelent la volorrumque mi, sam quaes eatende llaboris ex etum voluptasi omnit, temped quibustrum Acipsus rem remporenihil ium quat exped qui reprem facipsandia si velit harchicat.
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La Giuria | The Jury Fabio Felici Presidente dell’IMM Carrara Spa IMM Carrara Chairrman Arturo Giusti Delegato dal Consiglio Nazionale dell’OAPPC On Behalf of the Italian Council of Architects Presidente dell’OAPPC di Massa Carrara Chairman of the Architect Association Massa Carrara Raimondo Lovati Direttore di Confindustria Marmomacchine Managing Director of Confindustria Marmomacchine Gian Luca Atena Delegato di ICE-Agenzia per la Promozione all’estero e per L’internazionalizzazione delle imprese italiane On behalf of ICE – Italian Trade Agency Marcantonio Ragone IMM Carrara Segreteria tecnica IMM Carrara Technical Secretariat
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Dichiarazione della giuria
Ebitat eic temporio et volorpo restiatia iur? Quidusa quatem andantur, serferunt ande voloreprate nonem quatur, int que voluptaquam voluptas endaece ptibusam esti ommolessum exeria vitaspel inciminciate cuptat volupie ntusae quo to occus maxim faccum aut reius estiatius maxim enimus aut aboriae aut as et vid estis et officiis as mi, serrum volupti cusa nonet ped qui soluptas et auda volor repudissum fugiae pori doluptia volenis aceperero bea vendam quia sit eribus dolorit ut il eumquam est, as pore, consecae velit, sequamus alicime volut fuga. Ro bearcia dent. At optatet volupid eostem ipideribus, tem ipid quatus escium dis aut arciist a sit volupta periat ducietur? Git offic te dicilig natuscit ut facimus quo ipsusda ectorem liatquae. Icipid eos plantur autem fugiassi volores eventiatur, vel ma volum sandust magnim ra sumquidenis eumquias nobis que net arum doluptatem ipis ut es aut aut expliquunt dolorum am imiliquos assitent liquas con et od et officius voloremporro id ma nobit offictatem dolesedis everest od ullaborrore volore eum enis diateca borecta ssinullaut ipitia qui cum quae elicab inissim aiorecatus simus everro tem dolupta nonsed que comnimo lupit, conesequatur simet pliqui imporehende inis rerchil laborendi beates unt quae doles dolum latur rem. Itatur, unt a qui unt et etur arumquid que con eosae. Itaersp eritati atiandam vel is rerio. Ferspeliatus doluptat lab intiae solupid evellorentus volupic totatem et eos exeremporio cones volut magnit ea dolorunt ut fuga. Nam exceptatur am eturectur, incipsam dia ducim et la qui dolor maxim res doloressunt, susti reicaborem el idelent la volorrumque mi, sam quaes eatende llaboris ex etum voluptasi omnit, temped quibustrum Acipsus rem remporenihil ium quat exped qui reprem facipsandia si velit harchicat.
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SEZIONE|SECTION I
RIVESTIMENTI ESTERNI EXTERNAL CLADDING
MAA 2014_NORD AMERICA_NORTH AMERICA
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SEZIONE | SECTION I_RIVESTIMENTI ESTERNI_ EXTERNAL CLADDING
Arch. Joan Soranno HGA Architects and Engineers
Lakewood Cemetery Garden Mausoleum
USO SPECIFICO DELLA COSTRUZIONE SPECIFIC USE OF BUILDING Mausoleum and Reception Center FOTOGRAFO PHOTOGRAPHER Paul Crosby: Minneapolis USA
PROGETTO PROJECT
LUOGO LOCATION
ANNO YEAR
MATERIALI MATERIAL
Lakewood Cemetery Garden Mausoleum
Minneapolis USA
2012
Bianco Carrara marmo/marble Cold Spring granito/granite
FORNITORE ITALIANO DEI MATERIALI LAPIDEI STONE MATERIALS ITALIAN SUPPLIER SANTUCCI GROUP Marble and Granite, Carrara – Italy
Brief description
Brief description
Addressing the intimacy of personal grieving and the shared rituals of commemoration, the design for the new Garden Mausoleum at Lakewood Cemetery in Minneapolis revisits an ancient building type whose setting demands contextual sensitivity and attention to materiality. The building and its landscape became a study in duality: communion with earth and sky, simplicity and ornament, mourning and celebration. Located in one of North America’s most significant nineteenth-century garden cemeteries, the new Mausoleum uses efficient space planning to address a shrinking inventory of available acreage for traditional in-ground casket burial. With a mere 25 out of 250 acres remaining of undeveloped land, the mausoleum adopts a strategy of higher density memorialization, enabling Lakewood Cemetery to judiciously maintain its greatest assets: its pastoral landscape and its landmark architecture, including a 1910 chapel with neo-Byzantine mosaic interiors by New York architect, Charles Lamb.
Addressing the intimacy of personal grieving and the shared rituals of commemoration, the design for the new Garden Mausoleum at Lakewood Cemetery in Minneapolis revisits an ancient building type whose setting demands contextual sensitivity and attention to materiality. The building and its landscape became a study in duality: communion with earth and sky, simplicity and ornament, mourning and celebration. Located in one of North America’s most significant nineteenth-century garden cemeteries, the new Mausoleum uses efficient space planning to address a shrinking inventory of available acreage for traditional in-ground casket burial. With a mere 25 out of 250 acres remaining of undeveloped land, the mausoleum adopts a strategy of higher density memorialization, enabling Lakewood Cemetery to judiciously maintain its greatest assets: its pastoral landscape and its landmark architecture, including a 1910 chapel with neo-Byzantine mosaic interiors by New York architect, Charles Lamb.
The 24,500-square-foot Mausoleum is anchored by a two-level building housing a committal chapel and reception space for communal activities that unfolds into a series of garden-level chambers for over 10,000 interments. With 4,800 columbarium niches and 750 full-body crypts, the mausoleum embraces a growing market for cremation while preserving the undeveloped 25 acres for future generations. The mausoleum minimizes the visual impact on its historic context by nestling more than three-quarters of the building into an existing south-facing hillside.
The 24,500-square-foot Mausoleum is anchored by a two-level building housing a committal chapel and reception space for communal activities that unfolds into a series of garden-level chambers for over 10,000 interments. With 4,800 columbarium niches and 750 full-body crypts, the mausoleum embraces a growing market for cremation while preserving the undeveloped 25 acres for future generations. The mausoleum minimizes the visual impact on its historic context by nestling more than three-quarters of the building into an existing south-facing hillside.
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MAA 2014_NORD AMERICA_NORTH AMERICA
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A green roof discretely extends the northern sweep of lawn over the burial chambers, with each room marked on the ground plane through a single bronze-trimmed earthen mound or oculus. Along the southern facade, a series of pavilions breaks down the scale of the garden wall, defining intimate columbarium and crypt gardens. Entering through the street-level building pavilion, visitors descend to the garden level under a rhythmic sequence of top-lit clerestories before entering a corridor flanked by intimately scaled crypt and columbarium rooms for quiet reflection. The material palette calls upon visual and experiential senses while recalling centuries of memorial tradition. Granite, marble and bronze—selected and detailed to last centuries while celebrating contemporary expression—frame each change of material through precise detailing and subtle tactile changes.
A green roof discretely extends the northern sweep of lawn over the burial chambers, with each room marked on the ground plane through a single bronze-trimmed earthen mound or oculus. Along the southern facade, a series of pavilions breaks down the scale of the garden wall, defining intimate columbarium and crypt gardens. Entering through the street-level building pavilion, visitors descend to the garden level under a rhythmic sequence of top-lit clerestories before entering a corridor flanked by intimately scaled crypt and columbarium rooms for quiet reflection. The material palette calls upon visual and experiential senses while recalling centuries of memorial tradition. Granite, marble and bronze—selected and detailed to last centuries while celebrating contemporary expression—frame each change of material through precise detailing and subtle tactile changes.
While mausoleums historically have been dark, introverted spaces, the new mausoleum inverts this paradigm with light-filled rooms connected to its new 4-acre landscaped garden. Daylight strengthens the relationship between the spiritual and the earth-bound while offering a serene and healing environment. Each crypt and columbarium room uniquely frames a view through a singular element, capturing the changing angles of sunlight through large windows or rotating, shifting skylights, comforting the eye with the presence of near or distant gardens, the tree canopy, or the sky.
While mausoleums historically have been dark, introverted spaces, the new mausoleum inverts this paradigm with light-filled rooms connected to its new 4-acre landscaped garden. Daylight strengthens the relationship between the spiritual and the earth-bound while offering a serene and healing environment. Each crypt and columbarium room uniquely frames a view through a singular element, capturing the changing angles of sunlight through large windows or rotating, shifting skylights, comforting the eye with the presence of near or distant gardens, the tree canopy, or the sky.
SEZIONE | SECTION I_RIVESTIMENTI ESTERNI_ EXTERNAL CLADDING
Reasons behind use of stones
Reasons behind use of stones
The Lakewood Cemetery Garden Mausoleum is located in one of the most prestigious and historic cemeteries in the United States. The cemetery’s prominence and existing architecture required that the new facility make a statement consistent with the rich history of Lakewood Cemetery. To that end, the Mausoleum was designed using stone as the primary building material.
The Lakewood Cemetery Garden Mausoleum is located in one of the most prestigious and historic cemeteries in the United States. The cemetery’s prominence and existing architecture required that the new facility make a statement consistent with the rich history of Lakewood Cemetery. To that end, the Mausoleum was designed using stone as the primary building material.
The exterior split-faced gray granite takes a cue from the proven longevity of this stone used on gravestones and monuments. The polychrome mosaics of the historic Lakewood Chapel served as a springboard for the Carrara marble and glass tile mosaics on the new Mausoleum. The exterior mosaic cladding is used to highlight important components of the Mausoleum: the main entry, committal chapel and crypt rooms. The interior is designed as a series of spatial experiences, in which a play of light and materials emphasizes the progression from our earthly lives to one of contemplation and remembrance. Carrara and Alabama White marble was chosen to optimize light reflectivity inside the subterranean burial rooms and provide a sense of beauty and permanence to all the spaces. Wood is used not only for its natural beauty but to add warmth to a building typology that is too often cold and somber. A yin yang relationship exists between the wood and stone—warm/cool, soft/hard, organic/inorganic—that creates a holistic environment that engages the senses and transcends the ordinary.
The exterior split-faced gray granite takes a cue from the proven longevity of this stone used on gravestones and monuments. The polychrome mosaics of the historic Lakewood Chapel served as a springboard for the Carrara marble and glass tile mosaics on the new Mausoleum. The exterior mosaic cladding is used to highlight important components of the Mausoleum: the main entry, committal chapel and crypt rooms. The interior is designed as a series of spatial experiences, in which a play of light and materials emphasizes the progression from our earthly lives to one of contemplation and remembrance. Carrara and Alabama White marble was chosen to optimize light reflectivity inside the subterranean burial rooms and provide a sense of beauty and permanence to all the spaces. Wood is used not only for its natural beauty but to add warmth to a building typology that is too often cold and somber. A yin yang relationship exists between the wood and stone—warm/cool, soft/hard, organic/inorganic—that creates a holistic environment that engages the senses and transcends the ordinary.
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MAA 2014_NORD AMERICA_NORTH AMERICA
Lakewood Elevation
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SEZIONE | SECTION I_RIVESTIMENTI ESTERNI_ EXTERNAL CLADDING
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Laying systems used for stones and other relevant information
Laying systems used for stones and other relevant information
Interior Marble Walls: 7/8-inch thick Carrara and Alabama White marble anchored to back-up wall (cast-in-place concrete or gypsum board on steel studs) with copper wire tie-back (plaster/mortar spots) with grouted joints.
Interior Marble Walls: 7/8-inch thick Carrara and Alabama White marble anchored to back-up wall (cast-in-place concrete or gypsum board on steel studs) with copper wire tie-back (plaster/mortar spots) with grouted joints.
Interior Marble and Onyx Flooring: 7/8-inch thick stone (Alabama White marble, Nero Marquina marble and Onyx) with grouted joints on latex modified mortar, 2-inch thick dry-set mortar, cleavage membrane on cast-in-place concrete slab.
Interior Marble and Onyx Flooring: 7/8-inch thick stone (Alabama White marble, Nero Marquina marble and Onyx) with grouted joints on latex modified mortar, 2-inch thick dry-set mortar, cleavage membrane on cast-in-place concrete slab.
On the interior, the tolerances for the crypt and columbarium rooms required precise layout and piece sizing. This was accomplished through exhaustive submittal and review of detailed shop drawings that required strict coordination between many trades.
On the interior, the tolerances for the crypt and columbarium rooms required precise layout and piece sizing. This was accomplished through exhaustive submittal and review of detailed shop drawings that required strict coordination between many trades.
All stone elements were specified with very tight color ranges including the amount and coloration of the veining in the Alabama White material. This requirement could only be met by taking several trips to the fabrication plant and reviewing each prepared slab before cutting. The slabs were marked for piece numbers and placement in the building, cut and shipped to the site.
All stone elements were specified with very tight color ranges including the amount and coloration of the veining in the Alabama White material. This requirement could only be met by taking several trips to the fabrication plant and reviewing each prepared slab before cutting. The slabs were marked for piece numbers and placement in the building, cut and shipped to the site.
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Type of material
Name
Country of origin
Marble
White Carrara
Italy
Marble
Alabama White
Alabama, USA
Marble
Alabama White
Alabama, USA
Marble
Nero Marquina
Spain
Onyx
Green
Onyx
Pink
Onyx Granite Granite
Size of product
Surface finishing
Use
3/8x3/8x3/8 inches
Honed
Interior Mosaics/Interior Wall Cladding
30x144x7/8 inches
Honed
Interior Wall Cladding
30x30x7/8 inches
Honed
Flooring
12x24x7/8 inches
Polished
Flooring
Pakistan
24x24x7/8 inches
Polished
Flooring
Iran
24x24x7/8 inches
Polished
Flooring
Honey
Turkey
24x24x7/8 inches
Polished
Flooring
Cold Spring Charcoal Black
Minnesota, USA
4x48x4 inches
Split-faced
Interor Wall Cladding
Cold Spring Academy Black
California, USA
4x48x4 inches
Split-faced
Interor Wall Cladding
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SEZIONE | SECTION I_RIVESTIMENTI ESTERNI_ EXTERNAL CLADDING
Lakewood Elevation
GARDEN LEVEL PLAN 1_Lower Foyer | 2_Committal Chapel | 3_ Grieving Room | 4_Mechanical | 5_Columbarium Room 6_Crypt Room | 7_Family Crypt Room | 8_Columbarium Garden | 9_Garden Crypts
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SEZIONE|SECTION II
INTERNI INTERIORS
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Before
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SEZIONE | SECTION II_INTERNI_ INTERIORS
Aston Pereira and Associates 135 Main Street, Building Lobby
After
USO SPECIFICO DELLA COSTRUZIONE SPECIFIC USE OF BUILDING Mausoleum and Reception Center FOTOGRAFO PHOTOGRAPHER Matthew Millman: San Francisco USA
PROGETTO PROJECT
LUOGO LOCATION
ANNO YEAR
MATERIALI MATERIAL
135 Main Street, Building Lobby
San Francisco USA
2008
Golden Age Melange marmo / marble Jura beige calcare / limestone Cremo Delicato marmo / marble Yellow French onice / onyx
FORNITORE ITALIANO DEI MATERIALI LAPIDEI STONE MATERIALS ITALIAN SUPPLIER HENRAUX Spa Querceta - Italy
Brief description
Brief description
The Owners of the building at 135 Main, San Francisco, directed Aston Pereira & Associates to create a Lobby for this building that would be iconic, and enduring with a universal appeal to the building’s tenant base.
The Owners of the building at 135 Main, San Francisco, directed Aston Pereira & Associates to create a Lobby for this building that would be iconic, and enduring with a universal appeal to the building’s tenant base.
The existing volume to be converted into the building lobby was an outdoor space. The volume was significant and based on the project budget, the challenge was to use the funds effectively to deliver the client objectives. We sought materials that would deliver drama and impact and materials that could complement the scale of the volume.
The existing volume to be converted into the building lobby was an outdoor space. The volume was significant and based on the project budget, the challenge was to use the funds effectively to deliver the client objectives. We sought materials that would deliver drama and impact and materials that could complement the scale of the volume.
Marble, a material that has proved its ability to withstand the test of time and the transience of fashion, surfaced as the obvious choice. Walls in Crema Delicato; floors in Golden Age/Melange with accents of Jura Beige and Crema Delicato and powerful Yellow French onyx water sculptures at each end of the lobby enabled us to deliver a lobby that met and exceeded all client mandates and expectations. Controlled color changing LED lighting optimizes the reflectance of the marble and enhances the volume in the lobby providing significant depth and translucence. The sunlight streaming through the lobby during the day bounces off the various marble surfaces bringing the material to life.
Marble, a material that has proved its ability to withstand the test of time and the transience of fashion, surfaced as the obvious choice. Walls in Crema Delicato; floors in Golden Age/Melange with accents of Jura Beige and Crema Delicato and powerful Yellow French onyx water sculptures at each end of the lobby enabled us to deliver a lobby that met and exceeded all client mandates and expectations. Controlled color changing LED lighting optimizes the reflectance of the marble and enhances the volume in the lobby providing significant depth and translucence. The sunlight streaming through the lobby during the day bounces off the various marble surfaces bringing the material to life.
The space design layout of the lobby makes it very inviting. Tenants and their visitors can relax while waiting for their friends; they can work quietly in areas conducive to this; or they can eat lunch with friends. The lobby thus succeeds on many levels, delivering aesthetic success and functional excellence.
The space design layout of the lobby makes it very inviting. Tenants and their visitors can relax while waiting for their friends; they can work quietly in areas conducive to this; or they can eat lunch with friends. The lobby thus succeeds on many levels, delivering aesthetic success and functional excellence.
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Before
After
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Before
Reasons behind use of stones The marble on the floor with its reflective quality helps expand volumes and add depth to the floor. The marble is also a classic material in that it endures and transcends fashion. Being a natural stone, the use of the material is a response to a basic desire to bring nature indoors. Intuitively, this fact makes users of the indoor space respond with acceptance and enjoyment.
Reasons behind use of stones The marble on the floor with its reflective quality helps expand volumes and add depth to the floor. The marble is also a classic material in that it endures and transcends fashion.
After
Being a natural stone, the use of the material is a response to a basic desire to bring nature indoors. Intuitively, this fact makes users of the indoor space respond with acceptance and enjoyment.
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Section A-A
Section B-B
Section C-C
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Laying systems used for stones and other relevant information
Laying systems used for stones and other relevant information
Floor: Thick bed installation Walls: Stacked veneer with relieving supports
Floor: Thick bed installation Walls: Stacked veneer with relieving supports
Type of material
Name
Country of origin
Size of product
Surface finishing
Use
Marble
Golden Age/Melange
Greece
48”x36” largest (size varies)
Polished
Floor
Granite
Jura Beige
Germany
36”x6”
Honed
Floor
Marble
Crema Delicato
Italy
48”x36” largest (size varies)
Polished
Floor and Wall
Onyx
Yellow French
Processed in Italy
54”x45”
Polished
Walls
SEZIONE | SECTION II_INTERNI_ INTERIORS
Plan before renovation
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SEZIONE|SECTION III
ARREDO URBANO
URBAN LANDSCAPE
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SEZIONE | SECTION III_ARREDO URBANO_ URBAN LANDSCAPE
Jacobo Micha Mizrahi Archetonic Parallel Lives
USO SPECIFICO DELLA COSTRUZIONE SPECIFIC USE OF BUILDING Monument FOTOGRAFO PHOTOGRAPHER Archetonic (Aldo Moreno Gamboa) Mexico City, Mexico Eduardo Zaletas Quitagrapas Estudio Mexico City, Mexico
PROGETTO PROJECT
LUOGO LOCATION
ANNO YEAR
MATERIALI MATERIAL
Parallel Lives
Vera Cruz Messico Mexico
2013
Clear Gray granito / granite Dark Gray granito / granite Black volcanic stone pietra /stone
White Guerrero marmo / marble Absolute Black granito / granite
Brief description
Brief description
The project conceptualizes a bearing wall that supports 100 sculpted stone pieces on one side and 400 suspended stone lines on the other side, symbolizing mexico as the gate to its land. Each of these 100 pieces, commemorate each year that the jewish community has been living in mexico, that they now consider theirs. At the same time those commemorative pieces with rough and robust finishes tell us about the ships and immigrants arriving. On the opposite side of the wall the 100 pieces multiply to 400, demonstrating the birth of the new families. These 400 pieces experience a refining and polishing process while penetrating the wall, symbolizing a mexico that offers overcome opportunities, facing a new life as a community. Although there’s an apparent similitude between these pieces, they were sculpted with no repetition, particular characteristics and different shapes. Each one has small details that distinguish them, evoking each particular, important, unique year that the jewish community has been living in mexico. The materials selected are black volcanic stone, granite and marble, they were cut and sculpted in various places around mexico, so they can finally get to their final destination: veracruz; port from which the immigrants entered. The base holds the philosophy and history of the facts that provoked the creation of this monument. It also holds the recognitions of the diverse participants and gives the monument a sensation of being suspended, this way the monument speaks about the overcome opportunities that mexico has given to the jewish community. To achieve the concept of a whole monument aside the water, a concrete bench, facing the horizon for the sea contemplation was integrated, honoring those brave men that with uncertainty came searching for a new life along the past century. A plaque with their names was integrated to the bench design.
The project conceptualizes a bearing wall that supports 100 sculpted stone pieces on one side and 400 suspended stone lines on the other side, symbolizing mexico as the gate to its land. Each of these 100 pieces, commemorate each year that the jewish community has been living in mexico, that they now consider theirs. At the same time those commemorative pieces with rough and robust finishes tell us about the ships and immigrants arriving. On the opposite side of the wall the 100 pieces multiply to 400, demonstrating the birth of the new families. These 400 pieces experience a refining and polishing process while penetrating the wall, symbolizing a mexico that offers overcome opportunities, facing a new life as a community. Although there’s an apparent similitude between these pieces, they were sculpted with no repetition, particular characteristics and different shapes. Each one has small details that distinguish them, evoking each particular, important, unique year that the jewish community has been living in mexico. The materials selected are black volcanic stone, granite and marble, they were cut and sculpted in various places around mexico, so they can finally get to their final destination: veracruz; port from which the immigrants entered. The base holds the philosophy and history of the facts that provoked the creation of this monument. It also holds the recognitions of the diverse participants and gives the monument a sensation of being suspended, this way the monument speaks about the overcome opportunities that mexico has given to the jewish community. To achieve the concept of a whole monument aside the water, a concrete bench, facing the horizon for the sea contemplation was integrated, honoring those brave men that with uncertainty came searching for a new life along the past century. A plaque with their names was integrated to the bench design. 39
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MAA 2014_ARREDO URBANO_ URBAN LANDSCAPE
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Reasons behind use of stones
Reasons behind use of stones
We decided to apply stone on this monument because of veracruz weather condition. Veracruz is the 2nd most saline city in the whole world and we couldn’t think in a more resistant and low maintenance material than stone. The stones applied are of very closed pore.
We decided to apply stone on this monument because of veracruz weather condition. Veracruz is the 2nd most saline city in the whole world and we couldn’t think in a more resistant and low maintenance material than stone. The stones applied are of very closed pore.
Each of these different stones represents a different origin of the immigrants. We thought that the analogy between different stones and different origins and cultures was powerful and beautiful. More than the 90% of the stones used are of mexican origin.
Each of these different stones represents a different origin of the immigrants. We thought that the analogy between different stones and different origins and cultures was powerful and beautiful. More than the 90% of the stones used are of mexican origin.
The first reason of course was that we wanted to use local materials because of sustainable and economic reasons. The second reason is that we thought very wise the use of mexican stone in a monument that thanks mexico for receiving a community and that represent thousands of mexican jewish people.
The first reason of course was that we wanted to use local materials because of sustainable and economic reasons. The second reason is that we thought very wise the use of mexican stone in a monument that thanks mexico for receiving a community and that represent thousands of mexican jewish people.
SEZIONE | SECTION III_ARREDO URBANO_ URBAN LANDSCAPE
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Laying systems used for stones and other relevant information
Laying systems used for stones and other relevant information
Interior Marble Walls: 7/8-inch thick Carrara and Alabama White marble anchored to back-up wall (cast-in-place concrete or gypsum board on steel studs) with copper wire tieback (plaster/mortar spots) with grouted joints.
Interior Marble Walls: 7/8-inch thick Carrara and Alabama White marble anchored to back-up wall (cast-in-place concrete or gypsum board on steel studs) with copper wire tieback (plaster/mortar spots) with grouted joints.
Interior Marble and Onyx Flooring: 7/8-inch thick stone (Alabama White marble, Nero Marquina marble and Onyx) with grouted joints on latex modified mortar, 2-inch thick dry-set mortar, cleavage membrane on cast-in-place concrete slab.
Interior Marble and Onyx Flooring: 7/8-inch thick stone (Alabama White marble, Nero Marquina marble and Onyx) with grouted joints on latex modified mortar, 2-inch thick dry-set mortar, cleavage membrane on cast-in-place concrete slab.
On the interior, the tolerances for the crypt and columbarium rooms required precise layout and piece sizing. This was accomplished through exhaustive submittal and review of detailed shop drawings that required strict coordination between many trades.
On the interior, the tolerances for the crypt and columbarium rooms required precise layout and piece sizing. This was accomplished through exhaustive submittal and review of detailed shop drawings that required strict coordination between many trades.
All stone elements were specified with very tight color ranges including the amount and coloration of the veining in the Alabama White material. This requirement could only be met by taking several trips to the fabrication plant and reviewing each prepared slab before cutting. The slabs were marked for piece numbers and placement in the building, cut and shipped to the site.
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All stone elements were specified with very tight color ranges including the amount and coloration of the veining in the Alabama White material. This requirement could only be met by taking several trips to the fabrication plant and reviewing each prepared slab before cutting. The slabs were marked for piece numbers and placement in the building, cut and shipped to the site.
SEZIONE | SECTION III_ARREDO URBANO_ URBAN LANDSCAPE
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Type of material
Name
Country of origin
Size of product
Surface finishing
Use
Granite
Clear Gray Granite
Mexico San Savador El Seco Mine, Puebla
54X38CM & 10X10 cm.
Rough
Sculpture
Granite
Dark Gray Granite
Mexico San Savador El Seco Mine, Puebla
54X38CM & 10X10 cm.
Rough
Sculpture
Volcanic Stone Marble
Black Volcanic Stone
Mexico San Savador El Seco Mine, Puebla
54X38CM & 10X10 cm.
Rough
Sculpture
Marble
White Guerrero Absolute
Mexico, Guerrero
54X38CM & 10X10 cm.
Rough
Sculpture
Granite
Absolute Black Granite
India
139X190X2 cm.
Brightened and Polished
Base and Bench
Granite
Dark Gray Granite
Mexico San Savador El Seco Mine, Puebla
18 BLOCK OF 150X90CM
Polished
Supporting Wall
SEZIONE | SECTION III_ARREDO URBANO_ URBAN LANDSCAPE
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MENZIONE | MENTION
Michael Lehrer Lehrer Architects The Villa PROGETTO PROJECT
LUOGO LOCATION
ANNO YEAR
The Villa
Santa Monica USA
2010
Verde Laguna marmo / marble Pietra serena pietra / stone Costa Smeralda granito / granite
Alhambra calcare / limestone Botticino marmo / marble Versailles granito / granite
MATERIALI MATERIAL Pietra di Lens arenaria / sandstone Port Laurent marmo / marble Belgian black marmo / marble
USO SPECIFICO DELLA COSTRUZIONE SPECIFIC USE OF BUILDING Residence / Workshop Sculpture Studio FOTOGRAFO PHOTOGRAPHER Benny Chan Los Angeles USA
Rain Forest Green granito / ganite Labradorite Absolute black granito / granite
Brief description
Brief description
The major design challenge was to celebrate and honor the owners’ life passions: The husband’s passions for stone sculpting and innovative technologies drove the requirements for his personal workshop and sculpture studio spaces. The wife’s love of gardening and her background as a landscape contractor provided the parameters for the new building’s integration with the existing landscape demanded the protection of several of the existing trees. The house is a celebration of light, lightness and stone. It is designed for an entrepreneur/sculptor who lives and breathes stone.
The major design challenge was to celebrate and honor the owners’ life passions: The husband’s passions for stone sculpting and innovative technologies drove the requirements for his personal workshop and sculpture studio spaces. The wife’s love of gardening and her background as a landscape contractor provided the parameters for the new building’s integration with the existing landscape demanded the protection of several of the existing trees. The house is a celebration of light, lightness and stone. It is designed for an entrepreneur/sculptor who lives and breathes stone.
This house is in santa monica canyon, california, the owner’s other house is in pietra santa, italy, the stone capital of the world. The use and display of stone, both basic and virtuosic is a profound aspect of this house design. The shaping and study of stone in the sculptor’s significant studio is the defining uniqueness of this project.
This house is in santa monica canyon, california, the owner’s other house is in pietra santa, italy, the stone capital of the world. The use and display of stone, both basic and virtuosic is a profound aspect of this house design. The shaping and study of stone in the sculptor’s significant studio is the defining uniqueness of this project.
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MENZIONE | MENTION
Reasons behind use of stones
Reasons behind use of stones
The owner’s passions for stone sculpting and innovative technologies drove the requirements for the use of various stones. The owner is absolutely passionate and deeply knowing about any and all things stone. From mining, to veining, to how many varieties of onyx or michelangelo marble are available in pietra santa and carrara (or where in marina di massa to process the portuguese limestone the covers the entire ground floor, inside and out) the owner’s fix lies in his deep knowledge of the material and technical qualities of the stone. From the beginning, the owner reveled in detail and techne: the art of craft and the mechanics of making. Working closely with the italian master stonemason, mr. Ziola, each of the more than 10 types of marble, granite, and stone were personally selected by the owners in italy for countertops that appear to be made of six-inch slabs of marble.
The owner’s passions for stone sculpting and innovative technologies drove the requirements for the use of various stones. The owner is absolutely passionate and deeply knowing about any and all things stone. From mining, to veining, to how many varieties of onyx or michelangelo marble are available in pietra santa and carrara (or where in marina di massa to process the portuguese limestone the covers the entire ground floor, inside and out) the owner’s fix lies in his deep knowledge of the material and technical qualities of the stone. From the beginning, the owner reveled in detail and techne: the art of craft and the mechanics of making. Working closely with the italian master stonemason, mr. Ziola, each of the more than 10 types of marble, granite, and stone were personally selected by the owners in italy for countertops that appear to be made of six-inch slabs of marble.
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Laying systems used for stones and other relevant information Outside floors: pedestal system Interior floors: dry-pack method Interior walls: mechanically fastened and anchored
Laying systems used for stones and other relevant information Outside floors: pedestal system Interior floors: dry-pack method Interior walls: mechanically fastened and anchored
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Type of material
Name
Country of origin
Size of product
Surface finishing
Use
Sandstone
Pietra Di Lens
Portugal
Varies
Honed
Floors, Walls, Shower Pans
Marble
Port Laurent
Italy
170x110x2 cm
Polished
Countertop, Niche
Marble
Belgian Black Marble
Italy
Varies
Polished
Island, Countertop, Splash
Marble
Verde Laguna
Italy
223x165x2 cm
Polished
Countertop, Splash
Sandstone
Pietra Serena
Italy
3 cm
Sandblasted
Wall
Sandstone
Pietra Serena
Italy
Varies
Honed
Countertop
Granite
Costa Smeralda
Italy
265x155x2 cm
Polished
Low Cabinet
Limestone
Alhambra Limestone
Italy
265x155x2 cm
Honed
Exterior Low Cabinet
Marble
Botticini
Italy
Varies
Honed
Kicks, Floors, Shower Pan
Granite
Versailles
250x145x2 cm
Polished
Countertop, Splash, Window Sill, Shower Walls
Granite
Rain Forest Green
Italy
315x140x3 cm
Polished
Countertop, Splash, Window Sill, Shower Walls
Labradorite
Labradorite
Italy
264x187x2 cm
Polished
Countertop
Onyx marble
Onice Verde
Italy
270x176x2 cm
Polished
Vanities
Limestone
Alhambra Limestone
Italy
3 cm thick
Honed
Floors
Granite
Absolute Black Granite
Italy
7/8� thick
Honed
Walls (Exterior Vertical & Top)
MENZIONE | MENTION
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