<html>Ritual Hall of the Central Cemetery in Brno</html>
The mass composition is based on an approximately square floor plan with an attached low operational and technical part. A significant artistic element here is the emphasis on verticality and the use of noble materials in the interiors (including a marble catafalque). As a result, the building has a very monumental and dignified impression. This is further enhanced by the mature trees and climbing plants that largely conceal it.
"Situation: The layout of the central cemetery is based on the principle of two entrances. This idea is also applied to the design of the ceremonial hall. With this layout, all trees on the construction site are preserved and connected to the building as one architectural unit.
Construction of the building (interior): The ceremonial hall is to have a uniform and calm light. This is achieved by glazing with Prismat bricks, inserted into high and narrow window openings. Four pairs of columns support the flat ceiling. Subtle tones of painting. The catafalques are lined with black marble, the metal on the candelabras is black, and the bulbs are in white spheres. The flooring around the catafalques is white. Around the floor, there is a ten-centimeter low base made of marble. The staircase to the gallery is again of the same material as the flooring, with a metal railing that has a black sheen. The entrance gates are made of wrought iron, glazed with clear glass.
Construction of the building (exterior): Part of the facade will be clad with bricks of a yellow tone made from first-class combined ceramic clay along with the masonry. The tiles are part of the masonry, not glued to the walls. Their color and external grain remain unchanged. The second parts of the masonry are combined with concrete masonry. The outer layer of concrete is of a finer grain, poured into planed boards. After stripping the forms, only any unevenness will be processed in the manner of bridge construction. The color is natural concrete. Both types of masonry provide perfect guarantees for long-lasting durability, requiring no repairs or maintenance, and due to their technical honesty, they are a dignified material for public construction, provided that for financial reasons better materials (stone, metal) cannot be used."
"Situation: The layout of the central cemetery is based on the principle of two entrances. This idea is also applied to the design of the ceremonial hall. With this layout, all trees on the construction site are preserved and connected to the building as one architectural unit.
Construction of the building (interior): The ceremonial hall is to have a uniform and calm light. This is achieved by glazing with Prismat bricks, inserted into high and narrow window openings. Four pairs of columns support the flat ceiling. Subtle tones of painting. The catafalques are lined with black marble, the metal on the candelabras is black, and the bulbs are in white spheres. The flooring around the catafalques is white. Around the floor, there is a ten-centimeter low base made of marble. The staircase to the gallery is again of the same material as the flooring, with a metal railing that has a black sheen. The entrance gates are made of wrought iron, glazed with clear glass.
Construction of the building (exterior): Part of the facade will be clad with bricks of a yellow tone made from first-class combined ceramic clay along with the masonry. The tiles are part of the masonry, not glued to the walls. Their color and external grain remain unchanged. The second parts of the masonry are combined with concrete masonry. The outer layer of concrete is of a finer grain, poured into planed boards. After stripping the forms, only any unevenness will be processed in the manner of bridge construction. The color is natural concrete. Both types of masonry provide perfect guarantees for long-lasting durability, requiring no repairs or maintenance, and due to their technical honesty, they are a dignified material for public construction, provided that for financial reasons better materials (stone, metal) cannot be used."
Zdeněk Kudělka: Bohuslav Fuchs, NČSVU, Prague 1966, p. 63
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