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Collection by Bret Robins

A Modern Mortuary in Munich

In the tenth-century district of Riem, on the far eastern edge of the city of Munich, sits the Mortuary at Munich–Riem (Friedhof-Riem). Designed by architects Andreas Meck and Stephan Koppel, the complex is comprised of unassuming buildings that conjure a decidedly modern last resting place.

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The mortuary, commissioned in 1996 and completed in late 2000, lies in stark contrast to the old, archetypal cemetery on the opposite side of the roadway. The central entry courtyard, pictured here, is the starting point for visitors.
The mortuary, commissioned in 1996 and completed in late 2000, lies in stark contrast to the old, archetypal cemetery on the opposite side of the roadway. The central entry courtyard, pictured here, is the starting point for visitors.
Meck and Koppel designed the burial route to lead from the mortuary through the covered forecourt adjoining the pool, past the mortuary bell, and over the crunching gravel to the cemetery.
Meck and Koppel designed the burial route to lead from the mortuary through the covered forecourt adjoining the pool, past the mortuary bell, and over the crunching gravel to the cemetery.
A single ‘tree of life’ is planted in the central courtyard, which faces the viewing room.
A single ‘tree of life’ is planted in the central courtyard, which faces the viewing room.
The viewing room has a surprisingly comforting and welcoming presence. Light filters into the narrow corridor from both ends, and the oak-clad ceiling and walls reflect a warm glow.
The viewing room has a surprisingly comforting and welcoming presence. Light filters into the narrow corridor from both ends, and the oak-clad ceiling and walls reflect a warm glow.
The courtyard is topped on one side with a grand concrete canopy pierced by a skylight. According to the architects, “this peaceful entrance yard is the starting point for visitors proceeding to the cemetery, mortuary and private chapels.”
The courtyard is topped on one side with a grand concrete canopy pierced by a skylight. According to the architects, “this peaceful entrance yard is the starting point for visitors proceeding to the cemetery, mortuary and private chapels.”
Another view of the central courtyard with the waiting room in the distance. The architects chose to leave their materials—Cor-Ten steel, oak, concrete and stone—solid and untreated, allowing for the natural process of aging to be symbolic of the cycle of life.
Another view of the central courtyard with the waiting room in the distance. The architects chose to leave their materials—Cor-Ten steel, oak, concrete and stone—solid and untreated, allowing for the natural process of aging to be symbolic of the cycle of life.
The architects conceived the buildings as “solid bodies emerging from the ground.”
The architects conceived the buildings as “solid bodies emerging from the ground.”
The waiting room sits in front of the large cross tower in the background. Other than the stacked-stone walls, nearly every line of the building is taut and angular.
The waiting room sits in front of the large cross tower in the background. Other than the stacked-stone walls, nearly every line of the building is taut and angular.
A massive oak door pivots to the waiting room, which features a floor-to-ceiling panel of glass.
A massive oak door pivots to the waiting room, which features a floor-to-ceiling panel of glass.
The entrance to the wateraum, or waiting room.
The entrance to the wateraum, or waiting room.
A constantly moving shaft of natural light that edges along an oak bench is a defining element in the room.
A constantly moving shaft of natural light that edges along an oak bench is a defining element in the room.
Protected by a natural stone roof, the mortuary’s upper half comprises a smooth oak cube contrasted with the quarried stone surrounding walls and floor. The architects conceived the water feature as a “golden water surface [that serves as] a meditative focal point.”
Protected by a natural stone roof, the mortuary’s upper half comprises a smooth oak cube contrasted with the quarried stone surrounding walls and floor. The architects conceived the water feature as a “golden water surface [that serves as] a meditative focal point.”
Cor-Ten steel doors open to the gravel path that meanders through a flowering meadow to the cemetery.
Cor-Ten steel doors open to the gravel path that meanders through a flowering meadow to the cemetery.
The layout of the site appears as a free form drawing in concrete.
The layout of the site appears as a free form drawing in concrete.
The cemetery is set within a lush meadow and groves of indigenous birch and pine, oak and cherry. The wood sculpture is the site's centerpiece.
The cemetery is set within a lush meadow and groves of indigenous birch and pine, oak and cherry. The wood sculpture is the site's centerpiece.
The towering sculpture of natural, untreated wood rises far above the pathway.
The towering sculpture of natural, untreated wood rises far above the pathway.
A series of Cor-Ten gates mark the route to the burial sites, which are reached via the stacked-stone steps.
A series of Cor-Ten gates mark the route to the burial sites, which are reached via the stacked-stone steps.
The cemetery, with its verdant landscape and monumental sculpture, can easily be confused with a public park. During my time there, many people at Friedhof-Riem were on foot and bike—here, a friendly Bavarian waves as I capture her on film.
The cemetery, with its verdant landscape and monumental sculpture, can easily be confused with a public park. During my time there, many people at Friedhof-Riem were on foot and bike—here, a friendly Bavarian waves as I capture her on film.