In the search for the beauty intrinsic to the architectural object, the bride of the pure and the functional, the silence that dawns, the ephemeral that comes to life, the sorrow and calm that in one embrace this building, highlight the contrast with a monumental architecture whose massive character, heaviness, austerity, balance and functional coherence are the masters.

Pivot and certainty guiding the whirlwind of ideas that enveloped this project was precisely functional coherence, which is accompanied by the accomplice and creator light of a new balance.

The object sits on the ground aspiring to the sky, in a marriage of heavy internal load-bearing skeleton wrapped externally in a snow-white origami of slabs seemingly light and suspended.

This diaphanous and clean skin, chiseled in a linear and rhythmic manner by triangulations and pure geometric shapes, comes to life and questions the observer through light, which creeps into the cracks and creates shadows that change with the passage of time.

The building thus becomes a sundial of a time that is not of the real and tangible, but refers to the times of man and life, of the experiences that follow one another over the course of a day and are reborn when the sun rises.

The monumentality and austerity of this architectural typology is also reflected in the distribution of the interior rooms, vertical distribution through a stairwell and lift, and in the articulation of these rooms respecting the natural turn of the practice of preparing the body of the dearly departed.

The designer’s attention shifts and focuses on discretion and complete concealment of the intervening interventions and mechanisms hidden from the visitor’s view.

Two distinct design lines are thus configured that parallel public atmospheres of recollection and ceremony with technical spaces related to the profession.

The visitor’s reception is composed of a reception whose candid color is a direct reflection of the envelope, and whose choice of materials is dictated by the desire to create a tension-free transition from outside to inside.

The main rooms that interest the visitor and on which the designers’ gaze lingered for a long time are composed of the three small rooms on the second floor that overlook the main hall on the ground floor.

The three small rooms are designed to accommodate the greeting to the deceased in an immediate, intimate and collected way. The light that permeates the exterior envelope permeates the glazed surface of the skylights and gently blends with the interior atmosphere.

This same zenithal light can be found in the main farewell room, whose peculiarity lies in the ample breathing space allowed by the double-height opening.