Builder

In our times, space is increasingly becoming a valuable commodity. Therefore, and because of the growing overproduction in art, more and more artists, art collectors and art institutions are experiencing serious difficulties. They have created or purchased objects of art that are quite valuable to them, but what to do with all the treasures, if you can’t afford to give them the space? How to keep the artwork without wasting too much space?

A lot of time has passed since the day the seemingly utopian idea of an art crematory first came up. After years of planning, the decision to announce a competition, intensive jury work and much discussed designs … – right up to the moment you can rightfully claim to have a feasible plan. The vision of an art crematory slowly becomes reality. Actually it all started rather incidentally: during a break between two speeches at the 1995 climate conference I met someone in the cafeteria who introduced me to a group called Psychiatriepatienten FILOART (psychiatric patients FILOART). A very unusual, but profound conversation ensued, during which many common similarities and interests became clear. This conversation was to have far-ranging consequences. After our first meeting I teamed up with aforesaid group for a workshop resulting in the concept of an »art crematory«, which has since been presented in various exhibitions.1 [i] While the group Psychiatriepatienten FILOART stuck to the original concept, I tried to take the subject further, gathered information on the topic and met up with numerous people who were directly or indirectly concerned with this matter. This resulted in endless discussions – until one day I decided to announce a competition for an art crematory. After I had engaged myself with intelligent materials, complex experimental constructions and new multifunction machines, I decided to participate in the first phase. To begin with, I divided the competition into two parts: phase one was to be a group process, that is to say a group of invited experts was assigned the task to plan the so-called transformation room (the basement). Phase two then would be announced as a public competition: the proposal for the upper floor, the presentation and farewell room. The outcome of phase one was to be considered accordingly in further planning and thereby of course influenced the competitors’ constructions, or rather limited the scope within which all participants had to stay.

The realization of two requirements was mandatory:
• the building’s shape was to clearly express the art crematory’s philosophy;
• the art crematory was to function carbon neutral and present a sustainable and variable solution.

Planing phase I
For phase I, an assigned team was commissioned to work on the concept and design the art crematory’s centerpiece, i.e. develop ideas for the transformation room. For fire prevention and energy reasons this room was to be located in the basement. Special attention was to be given to:
• functionality and simplicity;
• best possible energy balance and integration of regenerative energy;
• drastically minimized carbon emission and overall environmental friendliness.

During this phase I closely collaborated with selected architects, environmental engineers, building physicist, design strategists and ecologists. Many different solutions were simulated in various small groups, ideas were experimented with, discarded, thought anew and improved until the intelligent employment of innovative technology and unusual material led to a multifunctional framework, that can be used and modified with little effort to accommodate different circumstances. By incorporating scientific research results and technical innovations, we succeeded in developing an intelligent core concept that contributes to sustainability where the environment is concerned. In regard to energy the object is self-sustaining and can even generate excess energy for other uses. In detail, this means: the transformation room’s complete surface is covered with a skin made from intelligent material (Duro Flexün III)2[ii], that cannot only convert sunlight, but also rain and noise into energy, and has a carbon-neutral life cycle. For the time being, the art crematory is to be used according to its purpose– but not being exclusive in its possible other uses is what distinguishes this design. By employing prefab assembly components the entire building can be disassembled or modified according to different uses; for example the use as a theater, a swimming pool, or a planetarium would also be possible, should the art crematory no longer be required.

Planing phase II
This was a publicly announced competition with twelve contestants. The call addressed the task to design the building around the transformation room developed during the phase I, that will on the one hand comply with its architectural character, while on the other hand enabling a variety of other uses. All designs submitted displayed a high degree of originality and creativity. After the preliminary jury meeting, the shortlist consisted of only seven designs because all other contributions failed to comply with the basic preconditions of the call. After a long discussion the jury announced project No. 571277 as the winner. There is no question that this is a terrific design which deserves the first prize alone for its radical approach. However, I – as the client – decided to implement project No. 837249, for which there is a variety of reasons I will explain below.

Proposal No. 837249 had been disqualified in the first round because it failed to take several preconditions into account. Still, it had exactly the visionary outlook I had wished for the crematory: it is creative, cutting-edge and flexible and at the same time rational and conscious where environment and energy, material and space are concerned. One construction element in particular distinguishes this design: vertical, cylindrical multifunction elements that constitute the buildings skeleton. They fulfill four functions:
• the building’s static construction;
• storage space for the object’s transparent outer skin (covering);
• integrated wind energy element on the vertical’s upper end;
• air-conditioning (air outlet) invisible on the outside.

One of the designs outstanding qualities is the fact that the object casts almost no shadow, and therefore only marginally influences its environment with its bulk. Because of the building elements’ high mobility, the object (that consists of cylindrical elements) can be transformed or modified for other uses at any given time. Hence the art crematory’s architectural shell stands exemplary for the principle of change – in contrary to other static and immobile constructions. The proposal No. 837249, on the other hand, embodies a practical, rational approach in architecture. The subtle aesthetics by which the architectural language visualizes infinity and fire correspond with the object’s functionality and philosophy.

I can only congratulate the planning office who’s excellent project will be implemented, thank all participating architects for their designs, the jurors for their dedicated work and everyone who supported the project in one way or another, or will do so in the future.

Signed, the Builder