Category: Ceremony houses

Architect: Ferdinand Milučký
Works of art: Rudolf Uher, Pavol Tóth, Vladimír Kompánek
Location: Hodnínska ul. 44, Bratislava – Záhorská Bystrica
Design: 1962–1963
Built in years: 1967–1968

The work is inscribed on The List of Cultural Heritage Monuments of Slovakia.

Čelná stena obradnej siene sprostredkováva výhľad do okolitého prírodného prostredia

Built in the spirit of modern style, the first modern crematorium in the Slovak territory is a significant work marking the author’s style of expression. The fundamental attributes of the design manifested in the identity of the surroundings, mass composition and the interior architecture itself are the plainness or simple shapes of masses, spaces with a touch of spirituality adapted to human senses and the fusion of nature and architecture. A sensible incorporation of the building in the landscape, the merging of the interior and the exterior level, grown woody plants, and sculptural works in the surroundings make this work mystical and somehow extraordinary. 


During the mourning rituals, a waiting room, a room to say farewell to the deceased for the family and close ones, and a ceremony hall is available to the public. The space for the public is accessible from the outer terrace level, while the technical background is located in the basement. The interior concept clearly shows the dominance of the structural interior, whose basic components are expressively dominant, lengthwise composed masses and both glazed and full walls ordered at a right angle. From the point of view of architecture, the most impressive is the ceremony hall described by Soňa Mrázová as follows: “The space of the ceremony hall is high-rising, open and is supposed to create an effect of freedom. The hall is oriented so as to allow the view of the pine and oak tree woods through the glazed wall. This part of the woods is not accessible and is separated from the other surroundings with a wooden wall that crosses to the interior. The wooden wall also creates a visual barrier between the bereaved in the ceremony hall and the persons in the surroundings of the building. Another interconnecting element between the interior and the exterior is the stone tile floor starting at the access bay. The interior alone does not house any distinct works of art; comfort is achieved by using wood and visual connection with nature, avoiding a depressing impression of the space. The interior equipment of the ceremony hall is very plain. All interior elements are designed in the same style of expression and the same materials as the entire building. In the front, there is a discreet lectern and the catafalque facing rows of seats. In the rear part, there is a chamber organ and a small place separated with a wooden slat wall. Lights are composed of glass square plates. All elements are designed in mutual harmony. Emphasis is placed on the details, continuity of the lines and patterns, and their neatness. The materials used include stone, wood and glass. The white limestone tiling has been imported from Bulgaria; other materials are local. The wood used on the panelling can also be found on the benches.” [6] The atmosphere of the interior and exterior spaces is also accentuated by the works of fine art by renowned Slovak artists. “In the exterior, a totem by Kompánek can be found on the main meadow, the travertine sculpture in front of the main hall is by Rudolf Uher and the author of the figurative sculpture in the urn alley entitled Mourn is Pavol Tóth.” [2] 

The work is an example of surviving values that has retained its original face and did not succumb to the adverse influences of the structural interventions. Its current visual impression and atmosphere is documented by the words of Soňa Mrázová: “Even after fifty years, the building still is in a very good well-preserved condition, in its original shape and is being handled with care and respect. I had already admired the building in the past and fully identified with the statement that it is one of the best works of architecture in the territory of Slovakia of its type and in architecture as such. Her minimalistic and timeless approach has always fascinated me. I came across this type of architecture by chance as part of one of the studio assignments on the topic of columbarium. I only had the opportunity to see the interior of the crematorium at this occasion and it has fascinated me with its simplicity, functionality and ingenuity.” [6]

Used sources
  1. Ulrich, Petr – Vorlík, Petr – Filsaková, Beryl – Andrášiová, Katarína – Popelová, Lenka: Šedesátá léta v architektuře očima pamětníků. [The 60s in the Architecture as Seen by the Survivors.] Prague: Česká technika – nakladatelství ČVUT, 2006. pp. 250–259
  2. Bratislavské krematórium: Majstrovské dielo architekta Milučkého. [The Crematorium of Bratislava. The Masterpiece by architect Milučký.] VYDRICA website. Available at:
  3. Močková, Jana: Krása stavby, ktorá mení smútok na zmierenie. [The Beauty of a Building That Transforms Grief into Peace.] Website of Denník N, 2017. Available at: 
  4. Krematorium a urnový háj v Bratislavě. [The Crematorium and the Urn Alley in Bratislava.] Archiweb website. Available at: 
  5. Ikony (Ferdinand Milučký). Website: rtv:. Available at:
  6. Mrázová, Soňa: Krematórium a Urnový háj, Bratislava. [The Crematorium and the Urn Alley, Bratislava.] Seminar paper for Public Interior course. Faculty of Architecture and Design STU Bratislava, Summer Term 2021–22
Photo documentation

Soňa Mrázová